管虎“狂欢三部曲”的主题和风格表达  

Research on Style and Theme about Guanhu's Carnival Trilogy

作　　者：尹晓利[1] 

机构地区：[1]渭南师范学院莫斯科艺术学院,陕西渭南714099

出　　处：《渭南师范学院学报》2016年第7期92-96,共5页Journal of Weinan Normal University

基　　金：陕西省社科基金项目:新西部片崛起与陕西电影文化创意产业发展研究(12J025);陕西省社会科学艺术学项目:当代中国乡土儿童电影创作与传播研究(2014049);渭南师范学院研究生项目:中国八十年代以来乡土儿童电影发展研究(11YKZ044)

摘　　要：《斗牛》《杀生》《厨子戏子痞子》,因其有着相同的叙事风格被视为管虎导演的"狂欢三部曲",三部曲除沿袭了导演一贯的风格:娱乐元素的多重拼贴、夸张荒诞的影像狂欢与隐喻离奇的意义表征外,在主题表达上形成了一种介于寻找与坚守、自省与批判、个体与群体、暴烈狂躁与悲情绝望的情绪之间的笔调,在风格表达上形成了一种介于荒诞与写实、魔幻与原生态之间的整体隐喻和寓言表达。Three films,Cow,Design of Death and The chef,the Actor,the Scoundrel are recognized as Guanhu＇s carnival trilogy because of their same narrative style. The carnival trilogy inherited the director＇s consistent style： multiple collage of entertainment elements,exaggerated and absurd image carnival and the meaning of the metaphor surreal representation. The carnival trilogy form a tone of the search for and persistence,introspection and criticism,individual and group and violent rage and sadness tone between despair on the theme expression which formed a kind of expression in style between myth and realism,magic and the original ecological,to compose the whole expression of metaphor and allegory.

关 键 词：管虎 狂欢三部曲 主题 风格 

分 类 号：J905[艺术—电影电视艺术]