电影《路边野餐》的时间体验、空间形构与诗意传达  

The Time Experience,Space Formation and Poetic Expression of KailiBlues

作　　者：徐爽[1] 袁铭泽 Xu Shuang;YuanMingze(School of Chinese Language and Literature,Southwest University,Chongqing 400715,China)

机构地区：[1]西南大学文学院,重庆400715

出　　处：《重庆师范大学学报（社会科学版）》2018年第3期101-106,共6页Journal of Chongqing Normal University(Edition of Social Sciences)

基　　金：重庆市社会科学规划项目"中国电影的公共外交与海外传播研究"(2016YBYS148)

摘　　要：电影《路边野餐》通过时空更易及诗句渲染,构筑了一个现实与梦境杂糅的叙事语境。在时间体验上,制造影像与人物间的自由联想;在空间形构中,凯里、荡麦、镇远间的地理位移不断将现实、回忆和梦境拆解、融合再重塑;在诗意表达中,用平行而有矜持距离的意象拼贴出呼应叙事、补充叙事的念白来描摹出梦境的触感。通过构建梦境意象,完成关于时间的哲理思考和人生的情感纾解,留下了梦对现实无限悠远的多重思索和审美想象。Through the space-time alternation,and embellished by poetic language,the movie Kaili Blues has constructed a narrative context that blurs the boundaries of dreams and reality. In the dimension of time experience,it creates free association between characters and images. At the space formation level,the shifting among Kaili,Dangmai and Zhenyuan incessantly disassembles,blends and reconstructs the reality,memories and dreams. In regard to poetic expression,with the plot-echoing and plot-complementing narratages which are collaged by paralleled and restrainedly distant images,the movie delineates the tactility of dreams. It has accomplished the philosophical thinking about time and emotion alleviation of life by constructing the images of dreams,leaving us with infinite and multiple pondering,as well as aesthetic imagination of dreams on reality.

关 键 词：路边野餐 精神分析 梦境 意识流 

分 类 号：J90[艺术—电影电视艺术]