【摘要】：作為調整畫幅的實驗性作品,電影《我不是潘金蓮》講述了一個貼近生活的現(xiàn)實故事,電影遵循因果承續(xù)的內容架構,以全知視點凝聚情節(jié),但重情節(jié)線索輕細節(jié)骨肉的架構特點使這個因果相連、富于秩序感的故事變得飄忽而荒誕,更在說書人似的旁白中退后為悠悠傳說。同時,基于偶然的反諷敘事真假倒錯,強化了其傳奇性;方圓畫幅的選取,對稱構圖、低飽和色彩的運用,使得故事進一步抽象寫意,江南水鄉(xiāng)背景下四處鳴冤的李雪蓮,已然成為一個符號,成就了現(xiàn)實表象下中國故事的荒誕與象征。
[Abstract]:As an experimental work to adjust the picture, the film "I am not Pan Jinlian" tells a realistic story close to life. The film follows the content structure of causality, and condenses the plot from a omniscience point of view. However, the structural characteristics of emphasizing plot clues over detail make this causality connected, the story full of order becomes erratic and absurd, and retreats into leisurely legends in storyteller narratives. At the same time, based on the accidental irony narration, the truth and falsehood are wrong, which strengthens its legendary nature. The selection of square circle painting, symmetrical composition and the use of low saturation color make the story further abstract freehand brushwork. Li Xuelian, who has been avenged everywhere in the background of Jiangnan water village, has become a symbol. It has achieved the absurd and symbolic of the Chinese story under the realistic appearance.
【作者單位】： 中原工學院;
【基金】：2014年國家社科基金藝術學青年項目“中國現(xiàn)代話劇導演史論”(項目編號:14CB101)
【分類號】：J905
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本文編號：2497119