《刀尖》:从密室到山林的双重空间  

Seven Killings:The Dual Space from the Chamber of Secrets to the Mountains and Forests

作　　者：张慧瑜 Zhang Huiyu

机构地区：[1]北京市文联 [2]北京大学新闻与传播学院 [3]北京大学电视研究中心

出　　处：《电影艺术》2024年第1期90-93,共4页Film Art

基　　金：2021年研究阐释党的十九届五中全会精神国家社会科学基金重点项目“以文艺作品质量提升为导向的数字时代文艺批评机制研究”(批准号:21AZD053)阶段性成果。

摘　　要：21世纪以来,谍战片是一种反复出现的商业类型,形成了两种叙事类型,一是密室杀人模式,如电影《风声》,二是办公室职场“内斗”模式,如电视剧《潜伏》。高群书执导的《刀尖》延续了这些谍战片的叙事形态,在强化谍战作为一种权力倾轧的暗战和办公室政治的同时,构造了密室与山林两种空间想象。密室是囚禁的、血腥的空间,山林则是空旷的、静谧的场所。从密室到山林,意味着陷入身份焦虑的间谍尝试走出密室,去更广阔的世界寻找寄托。Since the beginning of the new century,spy films have become a recurring commercial genre,forming two narrative types:one is the Chamber of Secrets murder mode,such as the movie The Message,and the other is the office workplace“infighting”mode,such as the TV series Lurk.Director Gao Qunshu's Seven Killings continues the narrative form of spy films since the new century,strengthening spy warfare as a form of power struggle and office politics while constructing two spatial imaginations:a secret room and a forest.A secret room is a confined and bloody space,while mountains and forests are open and peaceful places.From the chamber of secrets to the mountains and forests,it means that the spy trapped in identity anxiety is trying to leave the chamber of secrets and seek refuge in the broader world.

关 键 词：谍战片 身份焦虑 双重空间 “密室”之外 

分 类 号：J905[艺术—电影电视艺术]