组合与聚合的纵横维度:《看不见的客人》叙事模态研究  

The Dimension of Syntagmatic and Paradigmatic Relationships: A Study on the Narrative Mode of Contratiempo

作　　者：白红丽 BAI Hong-li(School of Humanities,Southwest Jiaotong University,Chengdu 611756,China)

机构地区：[1]西南交通大学人文学院

出　　处：《西南交通大学学报（社会科学版）》2019年第5期66-72,共7页Journal of Southwest Jiaotong University(Social Sciences)

摘　　要：索绪尔的句段关系和联想关系对结构主义语言学产生了深远的影响,文化符号学奠基者罗兰·巴尔特将这对关系运用到社会空间和日常生活中提出了横组合关系和聚合关系。将横组合关系和聚合关系拓展到电影领域对《看不见的客人》进行分析,有助于厘清电影的结构,并从一个新视角揭示电影的内涵。这部多重反转的惊悚悬疑电影,布局精巧,虚实交错,类似《罗生门》的结构将同一故事经由不同叙事视角变成真假难辨的悬案,三组横组合关系与聚合关系相互作用,在否定之否定中寻找肯定,从谎言中拼凑支离破碎的真相,通过缜密的逻辑叙事,呈现出某种社会反思,并揭示了复杂的人性。Saussure's rapports syntagmatiques and rapports associatifs exert far-reaching influence on structural linguistics.Roland Barthes,the founder of cultural semiotics,extended the two relationship to social spaces and daily lives,and put forward the syntagmatic relationship and paradigmatic relationship.Extending this concept into the film field to analyze the film of Contratiempo can contribute to clarifying the structure of the film and revealing the connotation of the film from a new perspective.The psychological thriller film of multiple reversals has a delicate layout and a crisscross of virtual and reality,using the structure of Rashomon in which the same story becomes unsolved case through different narratives.The three groups of the syntagmatic relationship and paradigmatic relationship interact with each other,seeking the affirmation in the negation of negation and a broken truth from the lies.Putting aside the rigorous logic of the narrative,social reflections and complex humanity revealed by the film are worthy of our further consideration.

关 键 词：符号学 横组合关系 聚合关系 《看不见的客人》 叙事模态 

分 类 号：J905[艺术—电影电视艺术]