嵌套、复调、空缺:电影《罗生门》的叙事策略  

Nesting,Polyphony,and Absence:A Discourse on the Narrative Strategies in the Film Rashomon

作　　者：张丰 时曙晖 ZHANG Feng;SHI Shu-hui(School of Chinese Language and Literature,Yili Normal University,Yining 835000,Xinjiang,China)

机构地区：[1]伊犁师范大学中国语言文学学院,新疆伊宁835000

出　　处：《徐州工程学院学报(社会科学版)》2025年第1期54-59,共6页Journal of Xuzhou Institute of Technology:Social Sciences Edition

摘　　要：《罗生门》是黑泽明依据芥川龙之介的小说《罗生门》和《密林中》改编而成的悬疑电影。影片将《密林中》的情节嵌入《罗生门》的故事背景中,并通过叠加不同的叙述层形成嵌套式的叙事结构。对武士之死的多重叙述,揭示了人物声音和主题内容,展现了复调叙事的多声部性、对话性和主体性;稽查官形象和结尾真相的空缺则将影片内涵引向现实的不确定性与人性的复杂。《罗生门》凭借反传统的叙事策略完成了对电影叙事的反思,激活了影片的多重阐释空间。This paper examines the narrative strategies employed in Akira Kurosawa's film Rashomon,a suspense film adapted from Ryūnosuke Akutagawa's short stories Rashomon and In a Grove.The film ingeniously intertwines the plot of In a Grove within the narrative framework of Rashomon,thereby constructing a nested narrative structure through layered narration.The multiple accounts of the samurai's death unveil the multifaceted characters and themes,exemplifying polyphonic narration's capacity for dialogism and subjectivity.The film's ending,which omits the investigator figure and truth,directs its implications towards the uncertainty of reality and the complexity of human nature.Rashomon is a cinematic text which reflects on the art of storytelling itself,and activates a plurality of interpretive possibilities through unconventional narrative strategies.

关 键 词：电影《罗生门》 叙事策略 嵌套 复调 空缺 

分 类 号：J905[艺术—电影电视艺术]