【摘要】：作為反映"文革"題材的電影,張藝謀在對(duì)原著《陸犯焉識(shí)》進(jìn)行了有效的減法后,《歸來》的情節(jié)重心從階級(jí)/國家的人民性敘事過渡到家庭/日常的生活化敘事,電影通過溫暖的家庭醫(yī)學(xué)來反思造成馮婉瑜心因性失憶癥的多維復(fù)雜性,通過重建家庭倫理來辯難歷史進(jìn)而修復(fù)傷痕。電影從拒絕遺忘的表意范疇內(nèi)力求尋找診斷歷史的可行維度,家庭醫(yī)學(xué)自然銜接了新舊兩個(gè)時(shí)代,《歸來》在保持節(jié)制的鏡頭語言中完成了文本的多重表意。
[Abstract]:As a film reflecting the theme of the "Cultural Revolution", Zhang Yimou, after effectively subtracting the original book, "Lu Zhuanyuan", the plot center of "return" has shifted from the people's narrative of the class / country to the family / daily life narrative. The film reflects on the multidimensional complexity of Feng Wanyu's psychogenic amnesia through warm family medicine, and reconstructs family ethics to debate history and repair wounds. The film tries to find the feasible dimension of diagnosis history from the category of refusing to forget. Family medicine naturally links up the old and the new, and returns completes the multiple representations of the text in the restrained lens language.
【作者單位】： 廣西教育學(xué)院文學(xué)院;
【分類號(hào)】：J905

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 陶東風(fēng);;被抽空了社會(huì)歷史內(nèi)涵的愛情絕唱——也談電影《歸來》對(duì)《陸犯焉識(shí)》的改編[J];當(dāng)代文壇;2014年05期

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本文編號(hào)：2365495