电影类型与叙事冲突——《追捕》和《千里走单骑》跨类型比较

发布时间：2018-08-25 15:33

【摘要】：类型电影故事情节的起承转合离不开叙事矛盾冲突的建立、发展和消解。日本电影《追捕》(1976)和中国电影《千里走单骑》(2006)摄制间隔30年,风格、类型各异,推动叙事发展冲突性质及消弭冲突的方式也大相径庭。前者叙事直面社会矛盾,构建个人与社会间二元对立;影片以悬疑惊悚类型为载体,批判物质主义泛滥对20世纪70年代日本社会健康肌肤的侵蚀。后者引发主要叙事冲突的是个体间由于缺乏沟通而产生的疏离关系;影片以文艺类型片为载体,将叙事冲突的建构和消解置于跨国文化视域中,聚焦反思21世纪初商品大潮冲击下中国社会传统人际关系的尴尬处境。通过对两部影片的跨类型分析,它们表述了相同的主题,都呼唤用宽容和信任重塑因之而异化的人与人之间的交流与理解。
[Abstract]:The combination of story plot of type film can not be separated from the establishment, development and resolution of narrative conflict. The Japanese film "pursuit" (1976) and the Chinese film "Qianli single Ride" (2006) are shot 30 years apart, in different styles and types, and the ways to promote the development of conflict in narrative and to eliminate conflict are also quite different. The former narrative directly faces the social contradictions and constructs the dual opposition between the individual and the society; the film takes the type of suspense thriller as the carrier and criticizes the erosion of the healthy skin of Japanese society in the 1970s by the flood of materialism. The latter causes the main narrative conflict between individuals because of the lack of communication between the estranged relations; the film takes literary and artistic films as the carrier, and puts the construction and resolution of narrative conflicts in the transnational cultural perspective. Focusing on the awkward situation of traditional interpersonal relationship in Chinese society under the impact of commodity tide in the early 21 st century. Through the cross-genre analysis of the two films, they express the same theme and both call for the remolding of the communication and understanding between people who are alienated by tolerance and trust.
【作者单位】：奥克兰大学文学院;
【分类号】：J905

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