影像传记叙事的“拉远”与“走近”——论电影《我的父亲焦裕禄》的历史呈现  

"Zoom In"and"Zoom Out"in Video Biography Narration:Study of The Historical Presentation of the Film My Father Jiao Yulu

作　　者：刘永昶 LIU Yong-chang(School of Journalism and Communication,Nanjing Normal University,Nanjing,Jiangsu 210024)

机构地区：[1]南京师范大学新闻与传播学院广播电视系,江苏南京210024

出　　处：《艺术百家》2021年第5期89-93,180,共6页Hundred Schools In Arts

基　　金：2019年国家社科基金重大招标项目“数字媒介时代的文艺批评研究”(项目编号:19ZDA269)阶段性成果;江苏省社会科学基金项目“移动短视频生产的形态、审美及规制研究”(项目编号:20XWB002)阶段性成果之一。

摘　　要：作为一部人物传记片,电影《我的父亲焦裕禄》在叙事策略上做出了较多创新。一是“以人带史”,全景式地展现了渐行渐远的特定时代的风貌;二是通过艺术再塑,以单元化的情节冲突凸显人物性格特征,并表达创作者对于历史的认知;三是穿插了女儿的叙事视角,使镜头很自然地进入到焦裕禄的个人生活和家庭。影片的叙事策略大体可以概括为“拉远”和“走近”的叙事平衡,这对今天中国主旋律影视剧的创作有着诸多启示。As a character biopic, the film My Father Jiao Yulu has made many innovations in the narrative strategy. The first is "telling history through people", which shows the scenery of a specific era in a panoramic manner. Second, with artistic reconstruction, the characteristics are highlighted by separated plot conflict, which also expresses the creator’s cognition of history. Third, the narrative perspective of his daughter is interspersed, so that the story of Jiao Yulu’s personal life and family is naturally presented. The narrative strategy of the film can be generally summarized as the balance between "zoom in" and "zoom out", which offers a lot of enlightenment for the creation of the prevalent Chinese films and TV dramas today.

关 键 词：《我的父亲焦裕禄》 影像传记 历史呈现 叙事策略 

分 类 号：J905[艺术—电影电视艺术]