电影叙事中双重主体意识的理论功能与批评实践功能  

The Theoretical Function and Critical Practice Function of Dual Subject Consciousness in Film Narrative

作　　者：赵世佳[1] ZHAO Shijia(Department of Chinese Language,Hengshui University,Hengshui Hebei 053000,China)

机构地区：[1]衡水学院中文系,河北衡水053000

出　　处：《乐山师范学院学报》2023年第12期109-116,共8页Journal of Leshan Normal University

基　　金：2020年度河北省社会科学发展研究课题“电影诗学之叙事与修辞研究”(20200402080);2022年度衡水学院校改培育项目“电影叙事学研究”(2023XJZX10)。

摘　　要：电影叙事的双重主体意识理论借鉴了符号学能指与所指的那种显在与潜隐的关系;从观众的角度赋予文本一种主体性,并借鉴精神分析理论将这种主体意识分离为显在与潜隐的关系;然后借鉴巴赫金的复调对话理论及互文性理论,使得两个主体意识重新文本化,从而获得里独立的对话空间,由此它是在结构主义及其延伸理论的基础上进行的,有较强的认识功能。在批评实践之中,它可以找到两个独立的切入点,从批评者的立场出发,对两部分的修辞价值分别进行阐释,一方面看待它们价值所产生的效率,另一方面更要从效果出发,看其是否与自身的立场相吻合,然后再将这两种相关的效率、效果进行对比,最终给予文本既局部又完整的、辩证地批评判断。The theory of dual subject consciousness of film narrative learns from the relationship between the signifier and the signified in semiotics.The theory,from the perspective of the audience,attaches subjectivity to a text,and divides this subject consciousness into the obvious and latent relationships via the psychoanalysis theory.Then,by Bakhtin's polyphonic dialogue theory and intertextuality theory,the two subject consciousnesses are retextualized,obtaining an independent dialogue space.It is conducted on the basis of structuralism and its extension theory with a strong cognitive function.In the practice of criticism,two independent entry points can be found to explain the rhetorical value of the two parts respectively from the standpoint of critics.On the one hand,we should look at the efficiency generated by their value;on the other hand,we should check whether it is consistent with our own position based on effect,and finally compare the two related efficiency and effects to offer a dialectical criticism and judgment in a specific and holistic manner.

关 键 词：电影 画面隐含作者 源隐含作者 

分 类 号：J905[艺术—电影电视艺术]