时间的形状:论先锋性电影的创伤书写  

Shape of Time:On Trauma Representation of Avant-Garde Films

作　　者：李飞[1] GUAN Yunfei

机构地区：[1]上海大学文学院

出　　处：《电影理论研究（中英文）》2023年第2期88-100,共13页Journal of Film Studies

基　　金：中国博士后科学基金面上资助项目“当代西方创伤理论与批评研究”的阶段性研究成果(项目批准号:2019M661465);上海市社科规划青年课题“创伤理论研究”的阶段性研究成果(项目批准号:2020EWY012)。

摘　　要：自创伤研究成为学术热点以来,电影能否表征创伤便成为重要议题。从时间角度切入,可以激活电影与理论的对话关系,研究电影如何以自身语言拓展、深化了对创伤的理解。具体来说,《典当商》(1964)、《女旅客》(1963)、《大象》(2003)等先锋性电影通过闪回组合、“幻灯片”风格、跟拍等影像手段,将通常被界定为延迟性或同时性的创伤时间具象化为侵入时间、倒错时间、凝滞时间三种类型,并将其置于复杂的心理与社会文化语境之中,提供了富有启发性的创伤书写。Since trauma studies has become a heated academic topic,whether film can represent trauma has become an important issue.From the perspective of time,the author activates the dialogue relationship between film and theory,and studies how films expand and deepen the understanding of trauma in their own language.To be specific,avant-garde films such as The Pawnbroker(1964),Pasazerka(1963)and Elephant(2003)employ cinematic techniques such as flashback combinations,"slideshow"style,and follow-up photography to concretize trauma time,which is usually defined as belatedness or simultaneity,into three types:intrusive time,reversal time,and stagnant time.These films placed trauma time in a complex psychological and socio-cultural context to provide an inspiring trauma composition.

关 键 词：创伤 时间 电影语言 

分 类 号：J905[艺术—电影电视艺术]