《戏梦人生》中的个体书写与时空镜像  

The Individual Narrative Style and Image of Space and Time in the Film The Puppetmaster

作　　者：黄亚利[1] 

机构地区：[1]中国传媒大学艺术研究院,北京100024

出　　处：《新疆艺术学院学报》2017年第2期90-95,共6页Journal of Xinjiang Arts University

摘　　要：电影《戏梦人生》讲述了台湾布袋戏表演艺术家李天禄的前半生经历,记录了李天禄及其家庭在时代洪流中的命运沉浮。影片采用了人物口述与戏剧性演绎相结合的手法,在虚实间实现了历史时空和现实时空的对望。散文式长镜头的影像特点,延续了侯孝贤一贯的纪实风格,写实的方式指向的是诗意生活。在电影《戏梦人生》中个体书写成为历史书写的一种叙述范式,银幕时空成为历史时空的有效能指。The film The Puppetmaster tells a story of the first half of an artist of puppet -LI Tianlu in Taiwan and records the ups and downs of his and his family＇s destiny in the trend of the times. The film uses the method of person＇s narrator and dramatic acting to realize the isologues between historical and realistic space and time. The image feature of prose long lens continue HOU Xiaoxian＇s documentary style. The documentary way explains the prose life and the individual narrative style has become a narrative style of historical narration and space and time in films has reflected the historical space and time.

关 键 词：个体书写 虚实结合 散文式长镜头 

分 类 号：J905[艺术—电影电视艺术]