间离、嵌套与情境:《抓娃娃》的喜剧性  

Alienation,Nesting,and Context:The Comedic Nature of Successor

作　　者：贾兵[1] JIA Bing(School of Drama,Film and Television,Shenyang Conservatory of Music,Shenyang Liaoning 110000)

机构地区：[1]沈阳音乐学院戏剧影视学院,辽宁沈阳110000

出　　处：《牡丹江大学学报》2025年第3期102-108,共7页Journal of Mudanjiang University

摘　　要：电影《抓娃娃》具有喜剧人物、喜剧表演和喜剧故事等多层面的喜剧效果。该片以布莱希特的“间离”手法,在时间、空间和人物设计上拉开与观众的距离,避免“育儿”社会话题的严肃性;以“戏中戏”的嵌套式结构将戏剧与观众间的“间离”效果移植到叙事层间之间,在保证商业电影情节的连贯性和沉浸感的同时容纳喜剧表演。这一结构造成了人物之间、人物与观众之间对情境的所知差异,形成了基于“优越感”的喜剧可笑性,使“欺骗”故事具有了喜剧属性。The film Successor boasts a multi-faceted comedic effect,encompassing comedic characters,performances,and stories.By employing Brecht's"alienation"technique,the film creates a distance between the audience and itself in terms of time,space,and character design,thereby avoiding the seriousness of the social topic of"parenting".Through a nested structure of"play within a play",the film transfers the alienation effect between drama and the audience to the narrative layers,ensuring the continuity and immersion of commercial film plots while accommodating comedic performances.The resulting differences in knowledge of the situation between characters and between characters and the audience create a comedic ridiculousness based on"superiority",making the film's"deceptive"story possess comedic attributes.

关 键 词：《抓娃娃》 喜剧 间离 嵌套 情境 

分 类 号：J9[艺术—电影电视艺术]