《血狼犬》:人文生态与叙事伦理的双重变奏  

The Blood Hound:Double Variation of Humanistic Ecology and Narrative Ethics

作　　者：郭昆仑 GUO Kunlun

机构地区：[1]首都师范大学文学院,北京100048

出　　处：《浙江艺术职业学院学报》2023年第4期65-69,共5页Journal of Zhejiang Vocational Academy of Art

摘　　要：《血狼犬》基于对现实题材的创造性改编,展现出一幅高度真实的生存图景。影片对政治生态的演绎和再现,并不能解决由现实事件到影像改编过程中的结构性难题,这同现实事件在当下情境面临的争议密切相关。通过建立自然生态和人文生态的同构性,影片意在展现更多的“人物戏”,或“动物戏”和“人物戏”之间的内在勾连。最终,影片从看似难以协调的矛盾情感出发,回落到对可沟通情感人性的追寻上,打破阻隔人与人沟通交流的障壁,最终让我们明白:如何面对自我才是影片的真正内核。Based on the creative adaptation of real-life themes,THE Blood Hound presents a highly realistic survival scene.The film’s interpretation and representation of political ecology cannot solve the structural problems in the process of adapting images from real events.Undoubtedly,it is closely related to the current doubts faced by real e⁃vents.By establishing the isomorphism between natural ecology and humanistic ecology,the film aims to show more“character play”,or the internal connection between“animal play”and“character play”.The film starts from seemingly difficult to reconcile conflicting emotions and falls back to the pursuit of human nature,breaking down the barriers that prevent people from communicating,ultimately making us understand that how to face ego is the real core of the film.

关 键 词：《血狼犬》 改编 人文生态 叙事伦理 自我 

分 类 号：J905[艺术—电影电视艺术]