从《影》到《满江红》:古装电影中的小人物意象建构  

From Shadow to Full River Red:Construction of Minor Characters'Imagery in Costume Films

作　　者：张卓然 黄一峰 ZHANG Zhuoran;HUANG Yifeng(The Department of Film&TV Art,The Central Academy of Drama,Beijing 100710,China)

机构地区：[1]中央戏剧学院电影电视系,北京100710

出　　处：《河北科技大学学报（社会科学版）》2023年第3期70-74,共5页Journal of Hebei University of Science and Technology:Social Sciences

基　　金：中央高校基本科研业务费专项资金资助项目(YNXS2209)。

摘　　要：小人物通过自身抗争并获取胜利是观众喜闻乐见的电影叙事模式。从历史宏大叙事到聚焦个体叙事的过程中,小人物意象的建构在影片基调铺垫、故事叙述推动、主题内核表达等方面起着至关重要的作用。张艺谋执导的《影》和《满江红》皆讲述了小人物与皇室强权抗争的故事。两部电影中强权下的“刺杀”母题、小人物悲剧命运特征以及人物本体蜕变过程的共同点,以小见大地体现出古装题材电影中小人物意象建构所运用的叙事模式和独特的创作思路。The narrative pattern of underprivileged individuals'resistance and triumph in the face of adversity is a beloved tropic in movies.Throughout the process of transitioning from grand historical narratives to focusing on individual storytelling,the construction of minor character imagery plays a crucial role in setting the tone,propelling the narrative,and expressing thematic essence.Both Shadow and Full River Red directed by Zhang Yimou tell stories of minor characters'resistance against royal authority.This paper,based on the common theme of the "assassination"motif under authoritarian rule,the tragic fate of minor characters,and the transformational journey of their identities in both films,aims to illustrate the portrayal of minor character imagery in contemporary costume films and the narrative patterns and creative approaches it embodies.

关 键 词：《影》 《满江红》 小人物 人物意象 意象建构 

分 类 号：J905[艺术—电影电视艺术]