【摘要】：公路電影的敘事規(guī)范和美學(xué)原則,其實(shí)一直處于流動(dòng)的、變動(dòng)的狀態(tài)中。因此,公路電影并不會(huì)因?yàn)槠湟呀?jīng)成為類型片的一種,就失去了在形式上繼續(xù)創(chuàng)新的空間。日本導(dǎo)演三木聰自編自導(dǎo)的電影《轉(zhuǎn)轉(zhuǎn)》,便可以視作一部對(duì)公路電影在形式上進(jìn)行新嘗試的范例之作。文章從《轉(zhuǎn)轉(zhuǎn)》的公路電影特征,《轉(zhuǎn)轉(zhuǎn)》與公路電影的新題材選擇,《轉(zhuǎn)轉(zhuǎn)》與公路電影的新敘事結(jié)構(gòu)三方面,分析《轉(zhuǎn)轉(zhuǎn)》對(duì)公路電影的新開拓。
[Abstract]:The narrative norms and aesthetic principles of highway films have been in a fluid and changing state. Therefore, highway movies do not lose the space for innovation in form because they have become a type of film. The Japanese director Mitsuki's own film, turn around, can be seen as an example of a new attempt at the form of a road movie. This paper analyzes the new development of the highway film from three aspects: the characteristics of the highway film, the choice of the new theme and the new narrative structure of the road film.
【作者單位】： 燕山大學(xué);
【分類號(hào)】：J905
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本文編號(hào)：2383836