镜中的师与敌——黑泽明电影中的分身主题

Master and Enemy in the Cinema Scene:The Theme of “clone” in Kurosawa’s films

在黑泽明的电影里,敌对关系和师徒关系是重点刻画的主题。它们以互为"分身"的方式表现出来,从而构成了黑泽明主题论的电影体系。黑泽明用自己独特的电影语言,通过对"镜像"的运用,再现了希腊那喀索斯神话。但他与用精神分析方法再现那喀索斯神话的拉康不同。黑泽明的电影是镜像思想的电影化探求,而不只是对精神分析思想的简单图解。在黑泽明那里,分身之间既有相似也有相异,既是喜爱的对象,也可以是憎恨的对象。师父因其无私的至高性,而成为徒弟的理想和未来,所以一旦确立了关系,便绝不可能反转为敌人。徒弟采取与师父差异化的方式,反复实践,创造性地再现师父的人生。

The adversarial relationship and mentorship between master and apprentice are the main theme in Kurosawa’s films.The relationships were expressed in the way of"clone"between two parties,which formed the film system of Kurosawa’s theme theory.With his own unique film language,Kurosawa reproduced the Greek myth of Narcissus through the"mirror image".But he is different from Lacan,who used psychoanalysis method to reproduce the myth of Narcissus.Kurosawa’s films were not only a simple illustration of psychoanalysis,but also the exploration of mirror image applied in the film.In Kurosawa’s films,there are similarities and differences between the clones of the clone objects.It could be both objects of love and objects of hatred.Because of the master’s selfless supremacy,master became the ideal and future image of his apprentice.Once the master and apprentice relationship have established,they could never turn into an enemy.The apprentice took the way of differentiation with master,practicing repeatedly and creatively reproduced master’s past life.