反讽失效与主题表达落空——《一步之遥》相互矛盾的目的与效果  

Failure of irony and thematic expression due to the contradictory narratives of Only One Step Away

作　　者：杨静[1] 傅泰达 YANG Jing;FU Tai-da(Yunnan Normal University, Kunming 650500, China;Today s Vision of Henan Daily,Zhengzhou 476000, China)

机构地区：[1]云南师范大学,昆明650500 [2]河南日报,郑州476000

出　　处：《云南大学学报（社会科学版）》2019年第3期85-90,共6页The Journal of Yunnan University:Social Sciences Edition

摘　　要：对《一步之遥》过度阐释的褒扬与不知所云的批评并存的根源在于:电影试图通过后现代主义的叙事策略来实现对历史与现实社会的深刻批判,却没能为深刻的反思和批判找到平面化的叙述表达,实现雅俗共赏的叙事效果。反而让情节线上旁逸出来的事件割裂了叙事的完整性,人物在事件中的行为失却了性格决定的心理动机支撑,影像的原意与反讽喻义交织共生导致反讽失效。即在解构之后,《一步之遥》没能建构起其预期的批判性意义体系,主题表达落空。同时解构与重构之间难以剥离、区分和确定的繁复意义及其体验瓦解了电影观众的观影快感。The causes of the coexistence of the affected commendation and unreasonable criticism of the film Only One Step Away are as follows: the film tries to give an incisive criticism of the past and the present-day society through a post-modernistic narrative strategy but fails to suit both refined and popular tastes due to the lack of a planarization technique in its narration. The unconnected plots have negative impacts on the narrative integrity, the behaviors of the main characters lack the psychological support and determination, which leads to the failure of irony. Even after its deconstruction, Only One Step Away fails to construct its expected system of criticism plus a failure in thematic expression. The integration of deconstruction and reconstruction as well as its unclear distinction makes the audience get no pleasure from the film.

关 键 词：后现代主义 叙事策略 平面化表达 反讽失效 

分 类 号：J90[艺术—电影电视艺术]