诗影相和:跨艺术诗学视角下的电影《路边野餐》  

Poetry and Films in Harmony:An Interart Poetic Perspective on the Film Kaili Blues

作　　者：舒沛 李社教 SHU Pei;LI She-jiao(College of Liberal Arts,Hubei Normal University,Huangshi 435002,Hubei,China;College of Art,Hubei Polytechnic University,Huangshi 435003,Hubei,China)

机构地区：[1]湖北师范大学文学院,湖北黄石435002 [2]湖北理工学院艺术学院,湖北黄石435003

出　　处：《武汉理工大学学报（社会科学版）》2023年第1期109-115,共7页Journal of Wuhan University of Technology:Social Sciences Edition

摘　　要：随着艺术理念与媒介技术的不断发展,不同艺术间的边界逐渐模糊,“跨艺术诗学”成为艺术研究的新视角。《路边野餐》是近年华语影坛的佳作,导演毕赣在这部电影中对诗歌艺术的创作理念与表现原则进行了借鉴与化用,又将诗歌文本作为电影内容的组成部分,在形式上实现了诗与电影的结合,还以诗歌作为影像的艺格敷词,对电影的视觉内容进行了二次描述与启发阐释。《路边野餐》实现了“诗”与“影”的和谐,以跨艺术诗学的视角对其进行审视与分析,能够得出一些新的看法。With the development of art concepts and media technology,the boundary between different art forms is gradually blurred,and“interart poetics”has become a new perspective in art research.The film Kaili Blues is one of the best works in Chinese film industry in recent years.In this film,director Bi Gan draws on and applies the creative concept and expressive principles of poetry;he also uses poetry as part of the film’s content,realizing the combination of poetry and cinema in form;and he also uses poetry as the art form of the image to describe and interpret the visual content of the film.Kaili Blues realizes the harmony between“poetry”and“film”,and its examination and analysis from the perspective of cross-art poetics can lead to some new views.

关 键 词：跨艺术诗学 电影 诗歌 《路边野餐》 

分 类 号：J901[艺术—电影电视艺术] J905