虚实、嵌套与零度叙事:当代中国诗电影的叙事转向  

Illusion-Reality,Embedded and Zero Narrative:The Narrative Turn of Contemporary Chinese Poetry-Film

作　　者：郄欣萌 

机构地区：[1]首都师范大学文学院

出　　处：《上海文化》2024年第6期111-118,共8页Shanghai Culture

摘　　要：传统叙事学理论多围绕文学展开,而当前视觉文化时代下,有关图像、影像等视觉艺术的叙事理论也逐渐得到重视。诗与电影本属两种不同的艺术门类,却具有高度同源性。以当代中国诗电影为介入点,能够看到当代叙事学在电影中的体现与发展。中国诗电影作品叙事在整体上具有虚实相生的特点,而当代诗电影叙事突破传统,转向嵌套叙事与非线性叙事,特别是由罗兰·巴特提出的零度写作/零度叙事,是当代中国诗电影叙事的新姿态。探讨零度叙事在诗电影中的体现及其得以运用的可能性,能够从实践到理论层面拓展中国电影,特别是艺术电影、诗电影的研究道路,窥探叙事学在当代艺术中的新转向。Although the theory of Narratology is traditionally centered on literature,visual arts such as images gradually call the attention of narrative theories with the arrival of the age of visual culture.Poetry and film are of different artistic genres,but they have a high degree of homology.The narrative of Chinese poetry films as a whole is characterized by the combination of illusion("Xu")and reality("Shi"),while contemporary poetry-film narratives break through tradition and turn to embedded and non-linear narratives,especially the"zero degree"writing/narrative proposed by Roland Barthes,which is a new posture of contemporary Chinese poetry-film narratives.Exploring the embodiment of zero narrative in poetry films and the possibility of its application can enrich the research of Chinese films,especially art films and poetry films,from practical to theoretical levels,and explore the new turn of narrative studies in contemporary art.

关 键 词：中国诗电影 零度叙事 虚实 嵌套叙事 

分 类 号：J905[艺术—电影电视艺术]