极端叙述下的妥协——论影片《我不是潘金莲》的叙事策略  

Extreme Narrative of Compromise

作　　者：侯东晓[1] 李波[1] 

机构地区：[1]曲阜师范大学文学院,山东曲阜273165

出　　处：《郑州航空工业管理学院学报（社会科学版）》2017年第4期115-119,共5页Journal of Zhengzhou University of Aeronautics(Social Science Edition)

摘　　要：《我不是潘金莲》在叙事呈现上采用了圆形、方形和宽银幕的构图方式。虽然影片涉及敏感的政治话题,但也有人称这种极端的构图方式很好地配合了叙事开展,同时也有人认为冯小刚对电影美学做出了有益的探索。在叙事上,导演通过李雪莲三次放弃上访将事件从李雪莲的身上剥离出来,在这一过程中事件被漫画化,事件的本质也由理性滑向了荒诞,这一转变化解了政治题材的敏感性,形成了导演中立的立场。I Am Not Madame Bovary in the narrative presentation on the use of a round,square and wide screen composition. Although the film involves sensitive political topics,but some people call this extreme composition of the way with a good narrative to carry out,at the same time,it made a useful exploration of film aesthetics. Secondly,we found that in the film promotion,the director in the narrative through Li Xuelian three times to give up petition,the incident from the body of Li Xuelian stripped out in the process of the incident began to be comic,the nature of the event from the rational slide to the absurd. This change resolved the sensitivity of political themes,the formation of a neutral position of the director. Therefore,in seemingly extreme irony performance,Feng Xiaogang also made a compromise and clever to avoid the ＂ radio and television＂ political review.

关 键 词：《我不是潘金莲》 构图 叙事 妥协 

分 类 号：J905[艺术—电影电视艺术]