“弑父”:个体成长的建构之旅——电影《封神第一部》中姬发形象探析  

“Patricide”:A Constructive Journey of Individual Growth--An Analysis of Ji Fa’s Image in the Film“FengShen Part I”

作　　者：李艳 申朝晖[2] LI Yan;SHEN Zhaohui(Academic Journal Center,Yan’an University,Yan’an Shaanxi 716000;College of Literature,Yan’an University,Yan’an Shaanxi 716000)

机构地区：[1]延安大学学术期刊中心,陕西延安716000 [2]延安大学文学院,陕西延安716000

出　　处：《牡丹江大学学报》2024年第10期45-50,共6页Journal of Mudanjiang University

摘　　要：乌尔善导演的《封神第一部》以多重复杂的父子关系构建了姬发这一人物形象。以姬发的出走来展现个体迫切成长的欲望,以殷寿作为补偿性的想象对姬发形成“父之法”的“规训”,在成长的压迫与突围中,姬发经历了对“精神之父”殷寿从信仰崇拜到怀疑失望,继而绝望分裂的转变,最终以“弑父”这一激烈的对抗方式实现了自我的觉醒与个体的建构。家国同构体系下姬发回归西岐意味着再一次陷入父子关系的伦理之中,个人成长的话题并没有随着影片的结束而终结。“The First Part of FengShen”,directed by Urshan,constructs the character Ji Fa with multiple complex paternity.Ji Fa’s separation is used to show the individual’s desire to grow up urgently,and Yin Shou is used as a compensatory imagination to form a“discipline”of“Father’s Law”on Ji Fa.In the oppression and breakthrough of growth,Ji Fa experienced a transformation from belief worship to suspicion and disappointment,and then despair and division towards Yin Shou,the“spiritual father”.Finally,it realizes the awakening of self and the construction of individual through the fierce confrontation of patricide.The return of Ji Fa to Xiqi under the same system of family and country means that he falls into the ethics of father-son relationship again,and the topic of personal growth does not end with the end of the film.

关 键 词：成长 建构 弑父 矛盾 规训 

分 类 号：J905[艺术—电影电视艺术]