“从小说到电影”意识流风格下的故事到镜头设计——以《酒徒》为例  

From Novel to Film: Storytelling through Cinematic Design in the Stream of Consciousness Style—Taking “The Drunkard” as an Example

作　　者：郑宇恒 

机构地区：[1]贵州大学,哲学学院,贵州 贵阳

出　　处：《Design（汉斯）》2023年第3期962-967,共6页设计（汉斯）

摘　　要：意识流手法强调突破传统叙事结构和语言表达方式,以流畅、自由、无序的方式呈现人类思想和感受的内在“流动性”,而根据中国第一部意识流小说《酒徒》改编而来的同名电影作品《酒徒》也同样通过单帧的内心独白、非线性的叙事、哲学化的台词艺术等抽象的“镜头语言”将这种意识流风格呈现得淋漓尽致。本文将对电影《酒徒》中的意识流手法进行分析,进而总结出意识流视角下的现代主义电影镜头设计特点。Stream of consciousness technique emphasizes breaking traditional narrative structures and language expressions, presenting the inherent “fluidity” of human thoughts and feelings in a smooth, free, and disordered manner. The film adaptation of the first Chinese stream of consciousness novel, “The Drunkard”, also titled “The Drunkard”, similarly presents this stream of consciousness style through abstract “cinematic language” such as single-frame inner mono-logues, non-linear storytelling, and philosophical dialogue. This article will analyze the stream of consciousness technique in the film “The Drunkard” and summarize the characteristics of modernist film shot design from the perspective of stream of consciousness.

关 键 词：酒徒 意识流 故事设计 镜头设计 

分 类 号：I20[文学—中国文学]