叙事、节奏与表现:论电影蒙太奇对穆时英小说的形塑  

Narrative,Rhythm and Representation:a Study on the Relationship between Movie Montage and Mu Shiying′s Novels

作　　者：郝瀚 Hao Han(Department of Directing,Beijing Film Academy,Beijing 100089,China)

机构地区：[1]北京电影学院导演系,北京100089

出　　处：《河北工业大学学报（社会科学版）》2022年第1期39-46,共8页Journal of Hebei University of Technology：Social Sciences Edition

摘　　要：同时作为“新感觉派”与“软性电影”的代表,穆时英被认为使用大量电影技术写作小说。然而其体认最深、使用最多的电影蒙太奇技术却从未得到系统论述。从电影理论家与实践者两重身份出发,论证电影蒙太奇对穆时英的影响。基于1930年代上海电影文化生态溯源其蒙太奇思维的两处源头。随后结合文本指认、辨析并论证穆时英小说中两类六种蒙太奇及功能:叙事蒙太奇(平行/交叉/重复/节奏)与表现蒙太奇(心理/隐喻)。研究旨在为再探穆时英小说技法,1930年代中国电影与新感觉派小说之关系亦即中国现代文学与电影的跨媒介研究提供全新路径。Mu Shiying,as the representative of"Neo-sensationalist School"and"Soft Film"at the same time,is thought to have used a lot of film techniques to write novels.However,the movie montage technology which is the most widely recognized and used has never been discussed systematically.This article demonstrates the influence of movie montage on Mu Shiying′novels from his dual identities as a film theorist and a practitioner.Through an analysis of two sources of Mu′s montage-thinking based on the cultural ecology of Shanghai film industry in the 1930s,this article highlights the text identification,discrimination and demonstration of Mu Shiying′s novels and their functions.This article attempts to re-explore MuShiying′s novel techniques,the relationship between Chinese films and Neo-sensationalist novels in the 1930s.

关 键 词：穆时英 电影蒙太奇 小说蒙太奇 新感觉派 跨媒介性 

分 类 号：I106.4[文学—世界文学]