战争历史电影的规约延展与负性征候——爱国主义影片《长津湖》的叙事评析  

War History Films:Convention Extension and Negative Symptoms

作　　者：张健 曹云龙 Zhang Jian;Cao Yunlong

机构地区：[1]苏州大学传媒学院,江苏苏州215123

出　　处：《传媒观察》2021年第11期83-88,共6页Media Observer

基　　金：国家社科基金项目“数字时代青年中华民族认同的培育路径研究”(20BXW002)阶段性成果。

摘　　要：电影《长津湖》以高层决策指挥的宏大叙事线、基层连队战士的微观叙事线、美军视角的对抗叙事线三线并行的叙事结构,全景式讲述了抗美援朝的源起与决策,呈现了长津湖之战从筹划到胜利的全过程,书写了一段波澜壮阔的战争史诗。三线叙事在艺术真实、类型元素、价值表达等方面对战争历史题材电影的常见规约形成了突破与延展,同时三线叙事的故事推演也在人物塑造、情节设置与情感表达的完整度等方面表现出了值得反思的负性征候。The film The Battle at Lake Changjin uses the grand narrative line of high-level decision-making and command,the micro narrative line of grassroots company soldiers,and the confrontational narrative line from the perspective of the US military.The three-line parallel narrative structure describes the origin and decision-making of War to Resist US Aggression and Aid Korea and presents the whole process of the battle at Lake Changjin from planning to victory,writing a magnificent epic of war.The three-line narrative has made a breakthrough and extension to the conventional war films in terms of artistic reality,genre elements,and value expression.At the same time,the story-telling of the three-line narrative also shows the negative symptom worthy of reflection in terms of characterization,plot setting and emotional expression.

关 键 词：三线叙事 规约延展 战争历史 《长津湖》 

分 类 号：J905[艺术—电影电视艺术]