《万里归途》:圆形人物、“归家”史诗原型与“体制内作者”策略  

Home Coming: Multifaceted Round Characters, the Epic Archetype of “Returning Home” and “Survival within the System”

作　　者：陈旭光[1] Chen Xuguang

机构地区：[1]北京大学艺术学院

出　　处：《电影艺术》2022年第6期70-74,共5页Film Art

基　　金：北京市文联文学艺术创作扶持计划专项资金项目支持。

摘　　要：《万里归途》在风格类型拓展、人物形象打造、平和外交姿态表达等方面自有新意,通过对外交官主人公面临困境时的选择、担当与成长叙述,塑造具有人性深度、多面人格结构的圆形人物形象,通过对“归家”意象的反复强调和仪式化表现内嵌了一个史诗性原型叙事结构。电影在主旋律/商业化、体制性/作者性之间寻找巧妙的平衡,在国庆档的“一骑绝尘”昭示了新主流电影“内向化”“民生化”和新力量导演“体制内生存”的“可持续发展”之道。Home Coming has its own novelty in terms of genre expansion, characterization, and expression of peaceful diplomatic posture.Through the narrative of the protagonist’s choices, commitment and growth in the face of difficulties, Home Coming portrays a round character with human depth and multifaceted personality structure, and through the repeated emphasis on the image of “returning home” and its ritualistic expression, an epic archetypal narrative structure is embedded. The film seeks a difficult balance between melodrama and commercialization,between institutionalism and authorship. Its “leading role” in the National Day period shows that the new mainstream films are “inward-looking” and “livelihood-oriented”, and demonstrates the way of “sustainable development” for new power directors to “survive within the system”.

关 键 词：新主流 向内转 圆形人物 人格结构 阿尼玛 “归家”原型 

分 类 号：J905[艺术—电影电视艺术]