《小妈妈》的空间叙事研究  

A Study on Spatial Narration of the Movie Petite maman

作　　者：何嘉妮 戴淑娇[2] HE Jia-ni;DAI Shu-jiao(College of Cultural Creativity,Hangzhou Normal University,Hangzhou Zhejiang 311100,China;College of Textile and Garment,Shaoxing University,Shaoxing Zhejiang 312000,China)

机构地区：[1]杭州师范大学文化创意与传媒学院,浙江杭州311100 [2]绍兴文理学院纺织服装学院,浙江绍兴312000

出　　处：《齐齐哈尔大学学报（哲学社会科学版）》2023年第6期96-98,共3页Journal of Qiqihar University(Philosophy & Social Science Edition)

基　　金：国家社科基金青年项目:当代影视艺术中的暴力影像批判及其意识形态构建研究(17CZW003)。

摘　　要：《小妈妈》由法国导演瑟琳·席安玛指导。影片通过三个层面的空间串联起故事线,并借助多个空间符号完成对空间印象的解构重塑。在现实空间中,通过养老院、轿车、外婆家三个空间展现情感关系的建构过程。在记忆空间中,作为“记忆之场”的“玩具球”和“树屋”推动着亲情镜像的叙事表达,达成观众对于影片的情感认同。在梦境空间中,以“梦中梦”的嵌套叙事将主人公潜意识的内心活动影像化,最终凸显出导演对于女性群体的关注关怀。Petite maman is directed by Céline Sciamma(French).The film connects the story line through three levels of space,and uses multiple space symbols to complete the deconstruction and reshaping of the space impression.In the real space,through the three spaces of the nursing home,the car,and the grandmother's house,it shows the construction process of the emotional relationship.In the memory space,the toy ball and tree house as the memory field promote the narrative of the mirror image of family affection,so as to achieve the audience's emotional identification with the film.In the dream space,the subconscious inner activity of the protagonist is visualized as a dream within a dream with nested narratives,ultimately highlighting the director's concern for the female population.

关 键 词：《小妈妈》 空间 叙事 女性 

分 类 号：J905[艺术—电影电视艺术]