中国电影民族化的诗意叙事——以《小城之春》《枯木逢春》和《春江水暖》为例  

A Narrative Exploration of the Nationalization of Chinese Poetic Movies:Taking Spring in a Small Town,Withered Trees Revive,and Dwelling in the Fuchun Mountains as Examples

作　　者：邢崇 张立笑 Xing Chong;Zhang Lixiao(School of Communication,Qingdao University of Science and Technology,Qingdao,266061,Shandong,China)

机构地区：[1]青岛科技大学传媒学院,山东青岛266061

出　　处：《民族学刊》2023年第11期102-109,167,共9页Journal of Ethnology

基　　金：2021年度国家社会科学基金项目“中国少数民族影像民族志的接受研究(1949-2020)”(21BXW032)阶段性成果。

摘　　要：作为中国诗意电影的滥觞之作《小城之春》,开启了民族化诗意电影语言的探索。“十七年电影时期”郑君里导演同电影大师费穆有着共同的美学追求,不断向中国古典艺术探胜求宝,创作出极具特色的诗意美学电影《枯木逢春》。当代电影《春江水暖》延续了传统诗意电影风格,融中国山水画意境美学于现代大家族危机故事中,展现当下年轻导演追求山水诗意电影民族化的探索。这三部电影体现了不同时期中国影人在电影民族化诗意叙事的探索实践,主要体现在以下三个方面:“春”:诗意的电影意象象征;江南影像:诗意的电影叙事空间;“中国画”:诗意的电影长镜头美学。通过对三部电影视听语言共性的提炼与个性的阐释,管窥三部影片诗意化的影像于不同时代的承继与发展,体认中国电影美学精神的自觉追求,探索民族化电影诗意语言的当代表达。The three films xiaocheng zhichun(Spring in a Small Town),kumu fengchun(Withered Trees Revive),and chunjiang shuinuan(Dwelling in the Fuchun Mountains)reflect the exploration and practice of Chinese filmmakers in nationalized poetic narratives in films belonging to different periods.This is mainly embodied in the following three aspects:“Spring”—the nationalization of imagery in Chinese poetic films;the image of Jiangnan(South of the Yangtze River)—the nationalization of spatial narrative in Chinese poetic movies;and“Chinese painting”—the nationalized use of the long-shot narrative technique in Chinese poetic films.The image endowed by the word chun(spring)in the title of the three films not only creates the poetic conception,but also forms the unique referential meaning of each film.“Sadness in spring”:the expression of freehand scenery in the film Spring in a Small Town;“entering spring”:the shaping of realistic scenes in the film Withered Trees Revive;“diversities in spring”:the application of the scattered narrative technique of zhanghuiti(a type of traditional Chinese novels with captions for each chapter)in the film Dwelling in the Fuchun Mountains.The stories of the three films all take place in regions of south of the Yangtze River,showing the common aesthetics of space and the regional characteristics of spatial imagery south of the Yangtze River in different times.The use of long-shot techniques in the three films are all influenced by the traditional poetic and painting aesthetics,and show the unique aesthetic characteristics of the long shot in different times.With the creative consciousness of Chinese painting,director Fei Mu used the technique of“arranging the space of white(blank-leaving)like that of the black(the space of ink)”in the film Spring in a Small Town to create the artistic conception of blank-leaving,presenting the emotional free space with the aesthetics of the white and black painting technique.Director Zheng Junli was inspired by the famous Chinese paint

关 键 词：民族化 诗意电影 《小城之春》 《枯木逢春》 《春江水暖》 

分 类 号：C912.4[经济管理]