顾长卫电影《孔雀》的影像语言与人物塑造  

The Visual Language and Character Portrayal in Gu Changwei’s Film Peacock

作　　者：陈燕 牛殿庆 CHEN Yan;NIU Dianqing(School of General Education,Wenzhou Business College,Wenzhou 325035,China)

机构地区：[1]温州商学院通识教育学院,浙江温州325035

出　　处：《燕山大学学报(哲学社会科学版)》2025年第1期53-59,共7页Journal of Yanshan University:Philosophy and Social Science

摘　　要：从和谐维度社会学视角进入《孔雀》影像媒介的审美书写,影像语言浓缩的这个核心家庭具有划时代的典型性,关于苦难与和谐的文化书写具有传统“和”文化特征,符合今天我国倡导的和谐社会与和谐价值观的价值取向。孩子们的成长具有生物性的特征,姐姐的降落伞包含躁动和梦想,明暗度和饱和度的色彩变化象征着姐姐的梦想在天空自由飞翔。弟弟的女性裸体画蕴含“老小”宠爱的失衡,原本“明亮”的学生时代却走向了灰色现实世界。哥哥的向日葵是傻子的悖论,动静对比,表现了他对爱情的向往与纯粹。父母是沉默的,沉默是爱得深沉和博大。This paper explores the aesthetic representation of the film Peacock from the perspective of harmonious dimension sociology,focusing on the condensed core family in the visual language.The cultural narrative of suffering and harmony in the film embodies traditional“harmonious”cultural characteristics,aligning with the values of harmony society and harmony advocated in China today.The children’s growth is characterized by biological features,with the sister’s parachute symbolizing restlessness and dreams,while the color changes in brightness and saturation symbolize her dream of flying freely in the sky.The brother’s nude female painting reflects the imbalance of“favoritism”towards the youngest,as his once“bright”student days transition into a grey reality.The brother’s sunflower represents the paradox of a fool,with contrasts of movement and stillness expressing his yearning for love and purity.The parents remain silent,with their silence representing deep and vast love.

关 键 词：顾长卫 《孔雀》 影像语言 人物塑造 家庭伦理 和谐 沉默 

分 类 号：I206[文学—中国文学]