石黑一雄与小津安二郎电影中的空景

Kazuo Ishiguro and the Empty Space in Yasujirō Ozu’s Film

石黑一雄在《远山淡影》中对于小津安二郎电影中极具物哀特点的"空景"手法的借鉴,使之与日本文学文化传统之间形成了一种张力关系。空景被小说的叙述者用为一种帮助其脱离因自身问题所致的精神困苦的情感及心理策略。石黑由此揭示了其叙述者与过去的自己、他人及集体错误和解过程中回避责任的问题。通过小说与电影的关联,石黑一方面表达了与小津的《东京物语》源自相似历史文化语境而出于不同情感张力的、对新旧秩序更迭的感伤,一方面也督促读者去反思情感在个人及国家历史责究过程中所具有的推责性和混淆性。

In A Pale View of Hills,Kazuo Ishiguro’s adaptation of the technique known as"empty space,"which is clearly characterized of mono no aware sentiments,in Yasujirō Ozu’s film underscores its tension with the literary and cultural tradition of Japan.The empty space is used by the novel’s narrator as a strategy to help her break away from the emotion and mentality of the self-inflicted spiritual dilemma.Hence,Ishiguro reveals the issue of how the narrator evades her responsibilities while attempting to reconcile with the mistakes made by herself,others,and the community in the past.Through this correlation between fiction and film,Ishiguro expresses the kind of sentimental feelings,originated from the same historical and cultural context as in Yasujirō Ozu’s film,Tokyo Story,but triggered by different emotional tensions,toward the transition from the old to the new orders on the one hand,and,on the other,urges the reader to reflect on the probability that emotions might cause the evasion and confusion of accountabilities in confronting individual and national history.