影视化想象：早期电影对乔伊斯实验写作的影响
发布时间：2018-08-28 20:03
【摘要】：“乔伊斯与电影”一直是现代主义研究中的重要话题。早在1928年,德国小说家阿尔弗雷德·德布林就已注意到《尤利西斯》中的蒙太奇特征。2010年出版的论文集《转动卷轴世界：乔伊斯与电影》更是表明学界对此话题的学术兴趣有增无减。纵观80多年来的研究,不难发现,过去主要采用了类比分析的方法,即把文学文本比拟成一部现代叙事电影,以此强调视觉叙事的艺术性和审美性。为此,传统研究运用了乔伊斯创作之时尚未出现的电影美学术语或理论,如“蒙太奇”等。但这样一来,便忽略了作家创作之时业已出现的早期电影形态,及其对乔伊斯实验创作带来的实质性影响。 鉴于此,本文拟从视觉技术和视觉呈现两方面切入,系统考察乔伊斯创作之时的早期电影对其作品形式和主题等产生的影响。以摄影机镜头为核心元件的电影摄影技术促成了早期电影的诞生。作家从摄影机镜头的取景技术出发,发展出了“摄影机眼睛”的新认知视角。乔伊斯还意识到,发展演变中的早期电影,表现出了各自不同的视觉呈现形式。依据视觉呈现形式,可把早期电影具体化为以下类型：视镜窥孔电影,非叙事的吸引力电影和早期叙事电影。这三种类型的电影各自表现出独特的影视内容与呈现视角,都对作家的文本叙述产生了重要影响。 正文共分5章,对以上内容展开详论。第一章追溯了早期电影的发展演变过程,及其与作家之间存在的实际影响关系。在乔伊斯时代,活动照相机和摄影技术相继出现,推动形成了初具规模的早期电影——视镜窥孔电影。此后,早期电影在发展演变的过程中,其视觉呈现形式也发生了改变,视镜窥孔电影逐渐被银屏公映电影取代。后者的视觉呈现方式亦不尽相同,对此,又可细分为非叙事性的吸引力电影和叙事性电影。乔伊斯深度进行影视传媒实践,尤其是他担任沃尔特影院经理的经历,使他对早期电影的视觉技术和视觉呈现有了深入的了解,也对盛行一时的早期影片了然于心。不足为奇,这样的早期电影媒介,经由作家的影视化想像,对作家的现代主义实验写作产生了影响。影视化想象是指早期电影的视觉技术和视觉呈现(包括影片内容,视觉画面和电影叙事),作用于作家的心智或想象,并通过作品文本的思想结构和形式主题,以及作家的文化态度等体现出来。 第二章着重讨论乔伊斯文本中的新认知视角——“摄影机眼睛”。电影摄影机和活动照相术的发明是早期电影发展演变的核心视觉技术,乔伊斯对此表现出极大的兴趣和关注。摄影机镜头的光学聚焦和渐次取景,给人们带来了新的视觉认知方式。乔伊斯受此启发,让笔下人物也通过“摄影机眼睛”观察和认知世界,他们认知到的世界是不完整的,表现为一个有视觉障碍的、不连续和切面的视觉空间。本章的第一节首先考察现代实验小说的具象化叙事,然后从乔伊斯的文学文本入手,阐明他对光学镜头和聚焦技术的熟悉程度。第二节进一步论述到,作家代理人斯蒂芬在《斯蒂芬英雄》中首次提出“摄影机眼睛”的理论及其审美机制,斯蒂芬在《一个青年艺术家的画像》中,则明确化为视觉美学理论。“摄影机眼睛”的视觉美学理论,实则反映了小说人物在认知外部世界时忽现的“精神顿悟”。本章的最后小节,结合短篇小说“两个纨绔子”,《尤利西斯》的第3章“普鲁蒂尤斯”和第15章“瑟西”,以文本细读的方式,深入探讨小说人物通过“摄影机眼睛”认知到了“无可避免的视觉认知形态”。 第三章主要探讨早期视镜电影对乔伊斯实验写作形成的影响。作家笔下的人物运用视镜电影的色情窥视原理,形成观察都市生活的独特视角,既真实地反映,又诙谐地讽刺了乔伊斯身在其中的都市欲望文明和现代视觉消费。第一节指出,单孔窥视形式的视镜电影,以“舞裙秀腿”为展演内容的色情影片著称,这类电影充分地满足了电影观众的窥视欲望,《尤利西斯》中的布鲁姆正是当时的一位窥视行家。第二节主要解读《尤利西斯》的第5章“食落拓枣的人”,第8章“莱斯特吕恭人”和第11章“塞壬”等章节。通过文本细读发现,窥视行家布鲁姆偷窥到充斥于都市空间的“舞裙秀腿”,如此一来,作家实现了对都市的欲望和性的戏仿式书写。第三节着重分析《尤利西斯》的第13章“诺西卡”,研究发现,整个部分都在叙述布鲁姆与格蒂的看与被看,因而成为作家表现都市欲望和性的大手笔。 第四章论述早期吸引力电影对作家的奇幻叙述手法产生的影响。吸引力电影通过纪实或魔幻元素形成一种视觉奇观或视觉冲击,体现了早期电影制造视觉幻觉的“娱乐杂耍”性。作家受此启发,也发展出亦真亦幻的奇幻叙述手法。第一节通过分析作家担任影院经理时选播吸引力电影的经历,指出他对吸引力电影的视觉奇观,及其娱乐杂耍性具有充分的认识。第二节则讨论了《尤利西斯》第10章“流浪岩”的“杂耍”风格,作家在“流浪岩”中,巧妙运用早期吸引力电影的纪实或魔幻元素,形成匠心独运的新奇叙述。第三节探讨了梅里爱幻境电影对《尤利西斯》的魔幻变形叙述产生的作用。梅里爱运用技术主义语言创作出幻境电影,形成了以魔幻表现真实的艺术特色。乔伊斯借用梅里爱电影的魔幻元素和场景,使布鲁姆的现代生活也变得亦真亦幻。本部分的最后,探讨了《尤利西斯》(尤其是第15章“瑟西”)中的鬼魂叙述,这跟梅里爱电影对鬼的视觉呈现方式有着实质联系。 第五章论述早期叙事电影对乔伊斯实验创作产生的影响。乔伊斯担任影院经理时特意选播了两部电影：“比阿特丽斯·桑西”和“弗朗西斯卡·达·里米尼”,皆改编自欧洲历史故事,表现的是流传甚广的家庭禁爱悲剧。在影视改编中,它们遵循了男性观众窥视银屏世界,尤其是凝视银屏女性的视觉呈现原理。由此,这两部影片都从乌龟丈夫或男性受虐的视角,再现了原历史故事中的婚恋背叛情节。它们从银屏画面和呈现视角两方面,对《尤利西斯》的婚恋背叛主题,及其叙事视角产生了作用。第一节着重论述乔伊斯的自传体散文集《贾科莫·乔伊斯》受到影片“比阿特丽斯·桑西”的直接影响。男性主人公贾科莫爱情受阻,只能通过窥视和视觉想象实现对女友的情爱表达。这部作品透过贾科莫的凝视视角勾勒出的女友形象,来自于比阿特丽斯的银屏形象。第二、三小节论述到,《尤利西斯》的第7章“埃俄罗斯”和第11章“塞壬”,都从丈夫的视角再现了禁爱悲剧片“弗朗西斯卡·达·里米尼”的婚姻背叛场景。第7章的斯蒂芬扮演了乌龟丈夫的角色；而在第11章中,布鲁姆则成为了遭受妻子背叛的乌龟丈夫。 论文结语指出,早期电影对乔伊斯创作产生的实质性影响,反映的是现代主义作家的精英文化文本对大众文化的吸纳与对话。早期电影自诞生以来,就被认为是迎合大众低俗想象的杂耍节目,对高雅或精英文化构成了威胁。对此,传统的现代主义研究,通过高雅／低俗文化(或艺术)的便利二分法,把经典现代主义艺术与大众文化严格对立开来。然而,本研究发现,乔伊斯作为经典现代主义作家的核心代表,表现出了包容和对话的大众文化立场。他既看到早期电影的视觉技术对人的认知能力的延伸,以及传播欧洲文化的媒介能力。同时,他也看到了电影商演迎合大众低俗想象的盈利驱动,表现出对那个时代的文化焦虑。
[Abstract]:"Joyce and the Movie" has always been an important topic in the study of modernism. As early as 1928, German novelist Alfred DeBrin had noticed the montage features in Ulysses. The publication of the 2010 anthology "Rotating Scroll World: Joyce and the Movie" shows that academic interest in this topic is growing. Over the past 80 years of research, it is not difficult to find that in the past, the main method of analogical analysis has been used, that is, to compare the literary text to a modern narrative film, in order to emphasize the artistry and aesthetics of visual narrative. In this way, however, the early film forms that had appeared at the time of the writer's creation were neglected, and their substantial impact on Joyce's experimental creation was neglected.
In view of this, this paper attempts to examine systematically the impact of Joyce's early films on the form and theme of his works from the perspectives of visual technology and visual presentation. Joyce also realized that early movies in their evolution exhibited different forms of visual presentation. According to the forms of visual presentation, early movies can be concretized into three types: peephole movies, non-narrative attraction movies and early narrative movies. Each film shows its own unique film and television content and presentation perspective, which have an important impact on the author's text narration.
The first chapter traces the evolution of early movies and their actual influence on the writers. In Joyce's time, movable cameras and photographic techniques emerged one after another, which promoted the formation of early movies of initial scale, namely, peephole movies. In the process of development and evolution, its visual presentation has changed, and the peephole film has gradually been replaced by the screen film. The latter is also different in the way of visual presentation, which can be subdivided into non-narrative attraction film and narrative film. Joyce carries on the film and television media practice in depth, especially as Walter. The cinema manager's experience has given him a thorough understanding of the visual technology and presentation of early movies, as well as the prevailing early movies. It is not surprising that such early media, through the author's visual imagination, had an impact on the writer's experimental writing of modernism. Visual technology and visual presentation (including film content, visual pictures and film narratives), which act on the writer's mind or imagination, are embodied through the ideological structure and form theme of the text, as well as the writer's cultural attitude.
Chapter Two focuses on the new cognitive perspective in Joyce's text, the "camera eye". The invention of cinematography and movable photography is the core visual technology in the early development of cinema. Joyce shows great interest and concern in it. The optical focusing and gradual viewing of the camera lens bring new vision to people. Inspired by this, Joyce allows his characters to observe and recognize the world through the "camera eye". Their perception of the world is incomplete, which is represented by a visual space with visual impairment, discontinuity and facets. The first section of this chapter first examines the representational narrative of modern experimental novels, and then from Joyce. The second section further elaborates that Stephen, the author's agent, first put forward the theory of "camera eyes" and its aesthetic mechanism in "Stephen Hero". Stephen, in "A Portrait of an Artist as a Young Man", explicitly translates it into the theory of visual aesthetics. The visual aesthetics theory of the camera eye actually reflects the "spiritual insight" of the characters in the novel when they perceive the external world. The last section of this chapter, combined with the short story "Two Witches", "Ulysses" Chapter 3 "Protius" and Chapter 15 "Thesey", probes into the characters in the novel by means of close reading. Through "camera eyes", we have realized "the inevitable form of visual cognition".
Chapter Three mainly discusses the influence of early visual-mirror films on Joyce's experimental writing. The characters in his works use the pornographic peeping principle of visual-mirror films to form a unique perspective to observe urban life, which not only reflects truly, but also satirizes Joyce's urban desire, civilization and modern visual consumption. Blum in Ulysses was a voyeur connoisseur at that time. Section 2 mainly interprets Chapter 5 of Ulysses, The Man Who Eats the Lost and Runs the Date, Chapter 8, Lai. Through close reading of the text, the author discovers that the expert Bloom peeps into the "dancing skirts and legs" of urban space, thus realizing the parody of urban desire and sex. This part is all about Bloom and Gerty's seeing and being seen, and thus becomes the writer's masterpiece in expressing urban desire and sexuality.
Chapter Four discusses the influence of early attractive films on the author's fantasy narrative. Attractive films form a visual spectacle or visual impact through documentary or magic elements, reflecting the "entertainment and juggling" nature of visual illusion produced by early films. The second section discusses the "juggling" style of "vagrant rock" in Chapter 10 of Ulysses. The writer uses the early attraction electricity ingeniously in "vagrant rock" The third section explores the effect of Merry's fantasy movies on the narrative of the magic transformation of Ulysses. Merry's use of technical language to create fantasy movies, forming an artistic feature of magic to represent reality. Joyce borrows the magic element of Merry's love movies. In the end of this section, the ghost narrative in Ulysses (especially in Chapter 15 "Thrace") is discussed, which is closely related to the visual presentation of ghosts in Merry's films.
Chapter Five discusses the impact of early narrative films on Joyce's experimental creation. Joyce, as a cinema manager, specially selected two films: "Beatrice Sancy" and "Francesca Da Rimini", both adapted from European historical stories and depicted the tragedy of a widespread family ban on love. They follow the visual presentation principle of male viewers peering into the world of the screen, especially at women on the screen. From the perspectives of tortoise husbands or masculine abuse, the two films reproduce the plot of betrayal in the original historical story. The first section focuses on Joyce's autobiographical prose collection, Giacomo Joyce, which is directly influenced by the film Beatrice Sancy. The male protagonist, Giacomo, is blocked in love and can only express his girlfriend's love through peep and visual imagination. The second and third sections of Ulysses describe the marriage betrayal scene in the tragic film Francesca Da Rimini from the husband's point of view. In Chapter 7 Stephen plays Ulysses. In the eleventh chapter, Bloom became a tortoise husband who was betrayed by his wife.
The conclusion of the thesis points out that the substantial influence of early movies on Joyce's creation reflects the absorption and dialogue of the elite cultural texts of modernist writers to popular culture. Modernism studies, through the convenience dichotomy of elegant/vulgar culture (or art), distinguish classical Modernist Art from popular culture. However, this study finds that Joyce, as the core representative of classical Modernist writers, shows an inclusive and dialogical position in popular culture. He sees the vision of early movies as well. The extension of technology to people's cognitive abilities, and the ability to spread European culture through the media. At the same time, he also saw the profit-driven film business to cater to the vulgar imagination of the public, showing cultural anxiety of that era.
【学位授予单位】：西南大学
【学位级别】：博士
【学位授予年份】：2013
【分类号】：I562.074;J905
本文编号：2210468
[Abstract]:"Joyce and the Movie" has always been an important topic in the study of modernism. As early as 1928, German novelist Alfred DeBrin had noticed the montage features in Ulysses. The publication of the 2010 anthology "Rotating Scroll World: Joyce and the Movie" shows that academic interest in this topic is growing. Over the past 80 years of research, it is not difficult to find that in the past, the main method of analogical analysis has been used, that is, to compare the literary text to a modern narrative film, in order to emphasize the artistry and aesthetics of visual narrative. In this way, however, the early film forms that had appeared at the time of the writer's creation were neglected, and their substantial impact on Joyce's experimental creation was neglected.
In view of this, this paper attempts to examine systematically the impact of Joyce's early films on the form and theme of his works from the perspectives of visual technology and visual presentation. Joyce also realized that early movies in their evolution exhibited different forms of visual presentation. According to the forms of visual presentation, early movies can be concretized into three types: peephole movies, non-narrative attraction movies and early narrative movies. Each film shows its own unique film and television content and presentation perspective, which have an important impact on the author's text narration.
The first chapter traces the evolution of early movies and their actual influence on the writers. In Joyce's time, movable cameras and photographic techniques emerged one after another, which promoted the formation of early movies of initial scale, namely, peephole movies. In the process of development and evolution, its visual presentation has changed, and the peephole film has gradually been replaced by the screen film. The latter is also different in the way of visual presentation, which can be subdivided into non-narrative attraction film and narrative film. Joyce carries on the film and television media practice in depth, especially as Walter. The cinema manager's experience has given him a thorough understanding of the visual technology and presentation of early movies, as well as the prevailing early movies. It is not surprising that such early media, through the author's visual imagination, had an impact on the writer's experimental writing of modernism. Visual technology and visual presentation (including film content, visual pictures and film narratives), which act on the writer's mind or imagination, are embodied through the ideological structure and form theme of the text, as well as the writer's cultural attitude.
Chapter Two focuses on the new cognitive perspective in Joyce's text, the "camera eye". The invention of cinematography and movable photography is the core visual technology in the early development of cinema. Joyce shows great interest and concern in it. The optical focusing and gradual viewing of the camera lens bring new vision to people. Inspired by this, Joyce allows his characters to observe and recognize the world through the "camera eye". Their perception of the world is incomplete, which is represented by a visual space with visual impairment, discontinuity and facets. The first section of this chapter first examines the representational narrative of modern experimental novels, and then from Joyce. The second section further elaborates that Stephen, the author's agent, first put forward the theory of "camera eyes" and its aesthetic mechanism in "Stephen Hero". Stephen, in "A Portrait of an Artist as a Young Man", explicitly translates it into the theory of visual aesthetics. The visual aesthetics theory of the camera eye actually reflects the "spiritual insight" of the characters in the novel when they perceive the external world. The last section of this chapter, combined with the short story "Two Witches", "Ulysses" Chapter 3 "Protius" and Chapter 15 "Thesey", probes into the characters in the novel by means of close reading. Through "camera eyes", we have realized "the inevitable form of visual cognition".
Chapter Three mainly discusses the influence of early visual-mirror films on Joyce's experimental writing. The characters in his works use the pornographic peeping principle of visual-mirror films to form a unique perspective to observe urban life, which not only reflects truly, but also satirizes Joyce's urban desire, civilization and modern visual consumption. Blum in Ulysses was a voyeur connoisseur at that time. Section 2 mainly interprets Chapter 5 of Ulysses, The Man Who Eats the Lost and Runs the Date, Chapter 8, Lai. Through close reading of the text, the author discovers that the expert Bloom peeps into the "dancing skirts and legs" of urban space, thus realizing the parody of urban desire and sex. This part is all about Bloom and Gerty's seeing and being seen, and thus becomes the writer's masterpiece in expressing urban desire and sexuality.
Chapter Four discusses the influence of early attractive films on the author's fantasy narrative. Attractive films form a visual spectacle or visual impact through documentary or magic elements, reflecting the "entertainment and juggling" nature of visual illusion produced by early films. The second section discusses the "juggling" style of "vagrant rock" in Chapter 10 of Ulysses. The writer uses the early attraction electricity ingeniously in "vagrant rock" The third section explores the effect of Merry's fantasy movies on the narrative of the magic transformation of Ulysses. Merry's use of technical language to create fantasy movies, forming an artistic feature of magic to represent reality. Joyce borrows the magic element of Merry's love movies. In the end of this section, the ghost narrative in Ulysses (especially in Chapter 15 "Thrace") is discussed, which is closely related to the visual presentation of ghosts in Merry's films.
Chapter Five discusses the impact of early narrative films on Joyce's experimental creation. Joyce, as a cinema manager, specially selected two films: "Beatrice Sancy" and "Francesca Da Rimini", both adapted from European historical stories and depicted the tragedy of a widespread family ban on love. They follow the visual presentation principle of male viewers peering into the world of the screen, especially at women on the screen. From the perspectives of tortoise husbands or masculine abuse, the two films reproduce the plot of betrayal in the original historical story. The first section focuses on Joyce's autobiographical prose collection, Giacomo Joyce, which is directly influenced by the film Beatrice Sancy. The male protagonist, Giacomo, is blocked in love and can only express his girlfriend's love through peep and visual imagination. The second and third sections of Ulysses describe the marriage betrayal scene in the tragic film Francesca Da Rimini from the husband's point of view. In Chapter 7 Stephen plays Ulysses. In the eleventh chapter, Bloom became a tortoise husband who was betrayed by his wife.
The conclusion of the thesis points out that the substantial influence of early movies on Joyce's creation reflects the absorption and dialogue of the elite cultural texts of modernist writers to popular culture. Modernism studies, through the convenience dichotomy of elegant/vulgar culture (or art), distinguish classical Modernist Art from popular culture. However, this study finds that Joyce, as the core representative of classical Modernist writers, shows an inclusive and dialogical position in popular culture. He sees the vision of early movies as well. The extension of technology to people's cognitive abilities, and the ability to spread European culture through the media. At the same time, he also saw the profit-driven film business to cater to the vulgar imagination of the public, showing cultural anxiety of that era.
【学位授予单位】：西南大学
【学位级别】：博士
【学位授予年份】：2013
【分类号】：I562.074;J905
【参考文献】
相关期刊论文 前2条
1 汤姆·冈宁;范倍;;吸引力电影:早期电影及其观众与先锋派[J];电影艺术;2009年02期
2 刘象愚;;乔伊斯与《尤利西斯》:从天书难解到批评界巨子[J];清华大学学报(哲学社会科学版);2006年05期
，本文编号：2210468
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