生命镜像中的“疼”与“痛”——以冯小刚《唐山大地震》为例谈灾难电影的心灵维度

‘Hurts’ and ‘Pains’ in Mirror Image of Life——Taking ‘Aftershock’ as Example to Discuss Spirit Dimensions in Disaster Movie

影片《唐山大地震》以其真实而撼人心魄的生命镜像,演绎了地震灾难造成的普通家庭生死离别悲恸的三十二年,现实主义地表现了女儿无法直面的人生,回避中始终无法完成的自我认同和母亲惨痛的废墟记忆。通过心灵转换生成中的意象、苦难废墟记忆的光与色及日常生活写意话语的背后三方面从影视本体论的层面上,分析影片如何探寻并成功地营构了震后幸存者心灵伤痕及日常生活中难以抚慰的心理空间的"余震"。创作者用饱含"生命温度"的光线刻划出生存者背影中沉重的灵魂,以生命镜像完成了召唤结构中个体生命"疼"与"痛"的人类内在生命体验的哲性思考,以源于生活真实的深厚民族底蕴,诉说出北方古老的土地上绝望而不屈地存在着的生命力量。与同类灾难影片比较分析,该剧显出独特的摄影造型观念,更加注重灾难之于人心灵的强烈震颤与难以愈合的伤痕,层层捕捉震后心理干预的心灵维度。

Based on mirror image of life, the movie ＇Aftershock＇ presents a picture of family tragedy caused by an earthquake. From perspective of realism, this movie reveals that the daughter can＇t face her life directly and complete her own self-identity; it also portrays the mother who lives in painful memory after the earthquake. With the image of life transformation, the light and color from the ruined memory, words from daily life, and aspects of movie ontology, this paper mainly discusses how this movie explores and constructs people＇s spiritual wounds after the earth- quake and their aftershock complex in psychological space in daily life. The director portrays the serious soul in the back of the survivor through the light of＇life temperature＇, completes the philosophical thinking about ＇pains＇ and ＇ hurts＇ in people＇s inner life experience. With true and profound national deposits, the movie relates the hopeless but unyielding life power. Comparedwithsimilardisastermovies, this movie presents unique concept about photography and design, pays more attention to the spiritual shock that the disaster brings and the trauma that is difficult to heal; it also catches the spirit dimensions of psychological intervention after the earthquake.