阿彼察邦电影《记忆》中的恐惑生成与时间性分析  

An Analysis of the Generation of Uncanny and Temporalityin Apichatpong’s Film Memoria

作　　者：贾海语 Jia Haiyu(Shaanxi Normal University,Xi’an 710119)

机构地区：[1]陕西师范大学,西安710119

出　　处：《西部学刊》2024年第13期136-140,172,共6页Journal of Western

基　　金：陕西师范大学校级一般项目“《每秒24次的死亡:静止与运动影像》英文原著的校译及其研究”(编号:LHRCCX23130)的有关成果。

摘　　要：在泰国导演阿彼察邦·韦拉斯哈古的新作《记忆》一片中,他试图表现出作为一种指示符号的电影通过暂停封存时间与设置“复影”的角色关系而混淆影片中活物与死物的区别来生成恐惑属性。在代表听觉的声音维度中,影片借由三种主要的声音形式将多个时间维度相互交织;在代表视觉的空间维度中,影片内部的叙事空间与外部的创作空间共同形成镜像对照的二元关系而模糊了过去与现在、死亡与生命之间的界限。In Thai director Apichatpong Weerasethakul’s new film Memoria,he attempts to show the film as an index that generates the attribute of being uncanny by suspending the sealing of time and by setting up the roles relationship of“double”to confuse the distinction between the living and the dead in the film.In the auditory dimension of sound,the film interweaves multiple dimensions of time through three main forms of sound;in the visual dimension of space,the internal narrative space and the external creative space of the film form a mirrored and contrasted duality that blurs the boundaries between the past and the present,between death and life.

关 键 词：《记忆》 阿彼察邦 电影的时间 恐惑 

分 类 号：J905[艺术—电影电视艺术]