阿巴斯电影的诗性品格  

Poetic Character of Abbas Kiarostami’s Films

作　　者：黄津 HUANG Jin

机构地区：[1]湖北经济学院外国语学院,湖北武汉430205

出　　处：《中南民族大学学报（人文社会科学版）》2023年第10期174-180,188,共8页Journal of South-Central Minzu University (Humanities and Social Sciences)

基　　金：湖北省高等学校哲学社会科学研究项目“伊朗新电影的民族化书写研究”(21Q208)。

摘　　要：作为诗人和电影大师兼具的双重身份,阿巴斯将诗的元素灌注到他的电影中,赋予他的电影一种浓郁的诗性底色。阿巴斯电影的诗意主题,表现为对生命的沉思与拷问、对童心和大自然的赞颂。这一方面是伊朗传统哲学对阿巴斯潜移默化的影响,另一方面也是伊朗当代和古典诗歌的熏陶。阿巴斯电影的诗性结构,具体表现为诗化的叙事结构和真实与虚构的无痕切换。阿巴斯一直在电影中追求一种生活流的叙事形态,而与这种叙事形态相适应的就是他的长镜头美学和象征、隐喻等修辞格的广泛运用。As both a poet and a master filmmaker,Abbas Kiarostami pours poetic elements into his films,giving them a strong poetic undertone.The poetic themes of Abbas’movies are the contemplation and interrogation of life,the celebration of children’s hearts and the glorification of nature.This is partly a result of the Islamic religious atmosphere that has imbibed Abbas,and partly the influence of contemporary and classical Iranian poetry.The poetic structure of Abbas’films is concretely manifested in the poetic narrative structure and the seamless switching between the real and the fictional.Abbas has been pursuing a lifestream narrative form in his films,and compatible with this narrative form are his aesthetics of long shots and extensive use of symbols,metaphors,and other rhetorical patterns.

关 键 词：阿巴斯电影 诗性主题 诗性结构 诗性修辞 伊朗 

分 类 号：J905[艺术—电影电视艺术]