类型杂糅、创新叙事、民族记忆:电影《满江红》的历史重构与主流共识  

Type Hybridity,Innovative Narration,National Memory: Historical Reconstruction and Mainstream Consensus of the Film The River All Red

作　　者：王昆 田龙过 WANG Kun;TIAN Long-guo

机构地区：[1]江汉艺术职业学院,湖北潜江433100 [2]陕西科技大学设计与艺术学院,陕西西安710021

出　　处：《民族艺林》2024年第3期96-103,共8页Journal of Ethnic Art

基　　金：2023年度陕西省丝路电影与丝路文化理论研究基地项目“西部电影中的饮食文化传播实践研究”(项目编号:23SLJD07)阶段性成果。

摘　　要：电影是人类历史上最直接有效且流行的“讲故事”的艺术形式之一。电影本身就是一种跌宕起伏、精心布局的故事,在历经了高概念、高流量电影的潮流后,创作者与观众都在找寻电影本身的叙事逻辑。电影《满江红》采用了古典戏剧“三一律”的创作法则,以高度凝聚的戏剧张力,实现类型杂糅。电影的主题和叙事鲜明聚焦,在史实和人物的基础上进行想象与重构,通过塑造历史时代下的小人物大情怀,加以喜剧、悬疑、传奇、家国等元素来给予大众无限的心理满足。Film is one of the most direct,effective,and popular art forms in storytelling throughout human history.The movie itself is a story of ups and downs which is carefully arranged.After experiencing the trend of high concept and high traffic movies,both creators and audiences are searching for the narrative logic of the movie itself.The film The River All Red adopts the creation principle of“Three Unifications”of classical drama,and achieves type hybridity with highly cohesive dramatic tension.The theme and narrative of the movie are sharply focused,with imagination and reconstruction based on historical facts and characters.By shaping the emotions of ordinary people in the historical era,and adding elements such as comedy,suspense,legend,and patriotism,it provides unlimited psychological satisfaction to the public.

关 键 词：戏剧与电影 “三一律” 类型杂糅 主流共识 《满江红》 

分 类 号：J90[艺术—电影电视艺术]