象征·施事·赋晕:李睿珺电影的“物”叙事  

Symbol,Agent,and Halo:Narratives of"Things"in Li Ruijun's Films

作　　者：林茜 Lin Xi(School of Foreign Language,Civil Aviation Flight University of China,Guanghan,Sichuan 618307,China)

机构地区：[1]中国民用航空飞行学院外国语学院,四川广汉618307

出　　处：《大理大学学报》2024年第7期61-67,共7页Journal of Dali University

基　　金：中央高校基本科研业务费专项资金资助(J2023-068)。

摘　　要：李睿珺作为当代新锐导演之一,其作品聚焦了大量的“物”叙事,包含动物、植物、物件、风景、地方等。整体来看,这些“物”主要呈现了三种叙事功能:作为象征之物,隐喻某种文化和人物,进而托物言志;作为施事之物,直接作用于人物行为、矛盾冲突,从而推动叙事进程;作为赋晕之物,彰显“物性”,构建万物有灵、万物相连、以物观人的叙事美学,警醒世人。李睿珺的电影在“物转向”的当下赋予了“物”以主体地位,积极探索日常生活中人与“物”的关系,就电影如何呈现“物”以启示。As one of the contemporary emerging directors,Li Ruijun's works focus on a large number of"thing"narratives,including animals,plants,objects,landscapes,places and so on.As a whole,these"things"mainly present three narrative functions:things used as symbols,referring to culture and characters,thus speaking the mind of the director;things used as agents,directly acting on the behaviors of characters and conflicts,thus promoting the narrative progression;things empowered with narrative halo,revealing the property of objects to build a narrative aesthetics that everything is living,everything is connected,and people are viewed by things,thus alerting the world.Li Ruijun's films endow"things"with the status of subject in the present time of"the turning of things",actively explores the relationship between people and"things",and enlighten how to present"things"in films.

关 键 词：“物”叙事 李睿珺 象征之物 施事之物 赋晕之物 

分 类 号：J901[艺术—电影电视艺术]