电影《一一》的群戏文本建构  

Textual Construction of Group Play in Movie Yi Yi

作　　者：邹捷 ZOU Jie(Department of TV and Radio Program Making,Chongqing University of Posts and Telecommunications,Chongqing 10617,China)

机构地区：[1]重庆邮电大学传媒艺术学院,重庆10617

出　　处：《衡水学院学报》2018年第2期102-104,共3页Journal of Hengshui University

摘　　要：《一一》是杨德昌于2000年拍摄的一部电影。影片以家庭为单位,表现了不同的家庭成员在一段时间内的生命体验,被法国媒体形容为"生命的诗篇"。杨德昌借由这些生命体验探讨了中年危机、青春期迷惘等问题。从《海滩的一天》到《一一》,杨德昌善于用群戏文本展现现代都市中人与人之间的关系。但是在《一一》中,杨德昌尝试使用新的叙事结构表现一家人的生活状态。他不再以情节线之间的关系展开叙述,而是以多条线索平行发展,设置聚合点的方式推进故事的发展。文章从大卫·波德维尔关于群戏文本建构的理论出发,分析片中人物的网状关系,呈现整部影片独特的结构,同时通过对影片各文本的描述提炼影片的主题。The movie Yi Yi was made by Yang Dechang in 2000.Taking the family as the unit,it shows the life experiences of different family members over a period of time.It was described by the French media as“a poem of life.”Yang Dechang used these experiences to explore the issues such as the middle-aged crisis and adolescent confusion.From One Day at the Beach to Yi Yi,we see he is good at using group drama texts to show the relationship of people in modern cities.However,in Yi Yi he tried to use the new narrative structure to represent family life.He no longer narrates the relationship of the plot lines,but advances the story through the parallel development of the multiple clues and the setting of aggregation points.The article begins with David Podlewell’s theory of group play texts construction,analyzes the relationship of the figures in the film,presents a unique structure of it,and refines the theme by describing the texts of the film.

关 键 词：杨德昌 电影《一一》 群戏文本 网状叙事 “灯笼式”叙事 

分 类 号：J932[艺术—电影电视艺术]