《隐入尘烟》:“边缘化叙事”语境下当代纪实影像的现实性表达  

Return to Dust:The Realistic Expression of Contemporary Documentary Images in the Context of“Marginal Narrative”

作　　者：马宁宇 闫家訚 MA Ning-yu;YAN Jia-ying(Faculty of Arts,Lanzhou University of Arts and Sciences,Lanzhou 730000,China;School of Journalism and Communication,Shaanxi Normal University,Xi’an 710062,China)

机构地区：[1]兰州文理学院文学院,甘肃兰州730000 [2]陕西师范大学新闻传播学院,陕西西安710062

出　　处：《遵义师范学院学报》2024年第2期162-165,共4页Journal of Zunyi Normal University

基　　金：兰州文理学院2022年课程思政建设研究项目(2022-KCSZ-YJXM-07);兰州文理学院2023年人才培养质量提升项目(2023-ZL-ylkc-09)。

摘　　要：《隐入尘烟》以乡土写实与质朴写意的双重叙事方式为西北甘肃农民代言,以土地影像表达塑造人物命运走向,为无家可归的流浪者诉情。李睿珺导演通过乡土题材凭借“边缘化叙事”元素,塑造并赋予了影片主人公对土地的尊重以及对生活的坚韧的饱满形象。在凝望隐入尘烟的乡土与缓慢诗意的时光中,进一步探索生命与情感的意义,同时也为中国乡村电影的创作提供了新的经验借鉴。Return to Dust uses a dual narrative style of local realismand simple freehand brushwork to represent farmers in northwesternGansu, portraying the fate of characters through land imagery, expressing sympathy for the gradually disappearing agricultural civilization,and expressing emotions for homeless wanderers. Director Li Ruijun portrays and endows the protagonist of the film with a fullimage of respect for the land and resilience towards life through rural themes and the use of“marginal narrative”elements. The filmfurtherexplores the meaning of life and emotions while gazing at the dusty countryside and the slow poetic time. At the same time, it alsoprovides new experience and reference for the creation of Chinese rural films.

关 键 词：边缘化叙事 农耕文化 纪实影像 现实性表达 

分 类 号：J952[艺术—电影电视艺术]