论电影《山楂树之恋》的叙事美学  

Narrative Aesthetics in the Film of Under the Hawthorn Tree

作　　者：蒋进国[1] 

机构地区：[1]上海师范大学人文与传播学院,上海200234

出　　处：《聊城大学学报（社会科学版）》2011年第4期104-108,共5页Journal of Liaocheng University:Social Science Edition

基　　金：浙江省社科联普及课题(121):走向生态文明的人与美育

摘　　要：电影《山楂树之恋》用政治语境下的"纯爱"故事展现人性,其叙事手法与海明威"压力下的光辉"及"冰山原则"有异曲同工之妙。山楂树意象蕴含着三个维度的隐喻:政治和人性、生与死、人与物,从而使影片形成一种富有张力的叙事结构。影片用政治色彩的解构反衬至美的人性光辉,用生命易逝的缺憾凸显人类存在的悲剧宿命,用灰白色调衬托自然永恒的空灵之美。该片是张艺谋艺术风格的转型之作,也是对当代大众娱乐文化的反拨。There is profound reflection on human nature in the unity of opposites between the transient politics and the everlasting humanity in the film of Under the Hawthorn Tree.This film has the outstanding characteristics which similar to the Grace under Pressure and The Iceberg Theory of American writer Ernest Hemingway.The image of hawthorn tree contains three metaphors： politics and humanity,living and death,human being and nature.This film exalts the glory of humanity,commiserates the unfortunate fate of human existence and celebrates the beautiful rural scenery.

关 键 词：《山楂树之恋》 政治话语 人性 冰山原则 叙事美学 

分 类 号：I206[文学—中国文学]