从景观到象征秩序——论中外现实题材电影中的荒野表征  

From landscape to symbolic order:a comparative study of wilderness representation in realistic films in China and abroad

作　　者：周文姬 ZHOU Wen-ji

机构地区：[1]华东师范大学传播学院,上海200241

出　　处：《东南大学学报（哲学社会科学版）》2023年第6期109-120,I0003,共13页Journal of Southeast University(Philosophy and Social Science)

基　　金：2021年国家社科基金艺术学一般项目“比较视域下新世纪中国现实题材电影研究”(21BC041)阶段性成果。

摘　　要：在电影史中,存在着不再作为叙事背景且从叙事中独立出来的景观,呈现出自身的自治性、主体性和现代性。“荒野”景观概念通常被划入野性大自然范畴。荒野景观是近年中外现实题材电影中的一个共同点,呈现社会的征候群,以不同表征来锚定人的生存困境。现实题材电影中的荒野景观主要有三类,一是从叙事中独立出来成为自治的荒野景观,一是直接从社会空间中建构社会荒野,一是微叙事以宏大叙事中的荒野为参照,重新建构当下现实题材中的荒野景观。三类荒野的建构都呈现出空间的荒野表征并非外在于象征秩序,而是与象征秩序紧密相连,同时昭示着未来所建构的现实世界中的荒野不再是原初外在于象征秩序中的荒野,而是象征秩序本身。In film history,landscape sometimes does not serves as a narrative background.Rather it stands alone,presenting its autonomy,subjectivity and modernity.Falling under the category of wild nature and wastelands,the wilderness landscape is a common feature in recent realistic films in China and abroad.It reveals the symptoms of society and anchors human survival predicaments with different representations.This landscape can be classified into three sub⁃categories:landscape that becomes autonomous wilderness,social landscape that is constructed in social space,and landscape that is a reference for micro⁃narratives.All three constructions show that the spatial representation of wilderness is not external to the symbolic order but closely connected to it.They also suggest that the future constructed wilderness in the real world is no longer the original wilderness external to the symbolic order but the symbolic order itself.

关 键 词：荒野美学 符号建构 《荒野》 电影景观 

分 类 号：J905[艺术—电影电视艺术]