当代电影叙事中的隐喻和象征——以《黑骏马》和《狼图腾》的比较为中心  

The Metaphor and Symbol of Contemporary Films—With the Centre of Comparison of A Mongolian Tale and Wolf Totem

作　　者：赵峻[1] 

机构地区：[1]淮阴师范学院文学院,江苏淮安223300

出　　处：《淮阴师范学院学报（哲学社会科学版）》2017年第6期584-587,共4页Journal of Huaiyin Teachers College(Social Sciences Edition)

基　　金：2015年度教育部人文社会科学规划基金项目"1979年以来中国电影的文学性研究"(15YJAZH004)

摘　　要：隐喻和象征作为修辞手法都有以此言彼的相似性,但隐喻言说的重点在现实生活,而象征则更多地指向抽象、深远的存在本真。相对来说,具备象征品格的中国电影就数量来说并不丰足,其原因可从生活状况、文化精神和电影发展特点三方面来分析。少数民族题材的电影文本因关涉到不同文化的对照而更易具有象征的视点。以《黑骏马》和《狼图腾》的比较为中心,可以探讨中西电影作者运用电影语言营构隐喻和象征的相同和相异之处,从这一角度加深对中国电影文学性的研究。As rhetoric,metaphor and symbol are similar.The difference is that the emphasis of metaphor is reality,while symbol points to abstract existence.Relatively speaking,the number of Chinese films with symbol character are little,which reason can be analyzed from the perspectives of living conditions,cultural spirit,and features of film development.Texts of minority subject films are easy to have the symbolic points,because of involving comparison of different cultures.With the centre of comparison of A Mongolian Tale and Wolf Totem,we can discuss the similarity and difference between Chinese and Western film authors to construct metaphor and symbol by film language.And we can do more researches on literary of Chinese films from this perspective.

关 键 词：当代电影叙事 隐喻和象征 《黑骏马》和《狼图腾》比较 

分 类 号：J905[艺术—电影电视艺术]