物哀美学视域下的《花束般的恋爱》  

We Made a Beautiful Bouquet from the Perspective of Mono No Aware Aesthetics

作　　者：杜抒珂 Du Shuke(Guangdong Baiyun University,Guangzhou 510450)

机构地区：[1]广东白云学院,广州510450

出　　处：《西部学刊》2025年第3期135-138,共4页Journal of Western

摘　　要：物哀作为日本独特的审美特征,深刻影响着日本民众的生活和民族文化。日本电影《花束般的恋爱》以物哀美学的自然观为基础,通过细腻的叙事和日常生活细节,展现了日本青年的恋爱观和生存境遇,体现了现代爱情叙事的特点。影片中,物哀美学影响下的人物形象、哀而不悲的情节走向,以及对细节爱情的呈现,共同构建了一种共情且感人的日常影像,使观众能够从中照见自己。与好莱坞戏剧化的叙事模式相比,物哀美学通过捕捉人物情感的微妙变化和对自然景观的深刻感悟,展现了日本文化的独特性和情感深度。影片既是对个体经历的探索,也是对日本社会情感态度的深刻反思。Mono no aware,a unique aesthetic feature of Japan,has profoundly influenced the lives and national culture of Japanese people.The Japanese film We Made a Beautiful Bouquet is based on the natural perspective of mono no aware aesthetics,depicting the love views and existential situations of Japanese youth through delicate narrative and everyday life details,reflecting the characteristics of modern love narratives.In the film,the characters influenced by mono no aware aesthetics,the melancholic yet not sorrowful plot development,and the presentation of love in details together construct an empathetic and touching daily imagery,enabling audiences to see themselves in it.Compared with the dramatic narrative mode of Hollywood,mono no aware aesthetics showcases the uniqueness and emotional depth of Japanese culture by capturing subtle changes in characters’emotions and profound understanding of natural landscapes.The film is both an exploration of individual experiences and a profound reflection on the emotional attitudes of Japanese society.

关 键 词：物哀 爱情电影 生活流 去戏剧化 

分 类 号：J905[艺术—电影电视艺术]