论多重人格电影的创伤叙事  

On the Trauma Narrative of Multiple Personality Movies

作　　者：杨晓林[1] 李晓婧 Yang Xiaolin;Li Xiaojing

机构地区：[1]同济大学电影研究所 [2]山东省产品质量检验研究院

出　　处：《电影艺术》2022年第2期87-93,共7页Film Art

基　　金：2019年度国家社会科学基金重大项目“新时代中国动画学派的重建与民族文化传播研究”(批准号:19ZDA333)阶段性成果。

摘　　要：多重人格电影以多重人格之间的博弈建构叙事,医学上称为"分离性身份障碍综合症"(DID)。创伤主题是其叙事重心:社会创伤型作品涉及世界性的战争、瘟疫、科技异化等灾难所导致的人性异化、精神畸变和人格分裂;幼年创伤型作品批判的矛头指向问题家庭的儿童期虐待问题。近30年来,多重人格电影强调以现代心理学和医学理论对"人格异变"进行病理分析,具有深刻的社会认识和批判价值。多重人格电影以人格博弈设置戏剧冲突,多超现实的臆想叙事及复线结构。Multiple personality movies construct narratives on the basis of the games between multiple personalities, which is medically known as “Dissociative Identity Disorder”(DID). Traumatic themes are the focus of their narratives: social trauma movies deal with human alienation, mental distortion and personality division caused by disasters such as war, plague, technological alienation, etc. Early childhood trauma movies direct their criticisms towards the problem of childhood abuse. In the past 30 years, multiple personality movies have emphasized the pathological analysis of “personality mutation” by modern psychology and medical theories, and have profound social understanding and critical value. They often use personality games to set up dramatic conflicts, with surreal imaginary narratives and complex structures.

关 键 词：多重人格电影 创伤叙事 创伤疗治 人格博弈 臆想叙事 

分 类 号：J905[艺术—电影电视艺术]