感知钝化·功能弱化·行动强化——重新理解现代电影“突破叙事性”问题

Perception Passivate,Function Weakening and Action Strengthening——Rethink on the Question of Modern Film How to Beyond Narrativity

电影艺术在叙事可能性方面的探索贯穿了百年电影史,其所积累下来的丰富遗产已潜移默化地成为后代导演从事电影创作的成规。对此,麦茨提出现代电影突破叙事性问题,并从电影符号学角度进行了分析。不过,麦茨将方法论寄托在了结构主义语言学和符号学上,还没有真正深入电影叙事的内部解决这一问题。就具有代表性的电影叙事而言,以意大利新现实主义电影为代表的日常叙事用"日常性"实现了对"戏剧性"的反叛;以法国新浪潮电影为代表的先锋叙事从叙事功能的角度致力于探索"非叙事性"的可能性,从而不断拓展电影叙事的边界;而奇观叙事则以"动力—动作"模式局部替代了剧情片的"感知—动作"模式,将支撑叙事动力的"可能性"功能的作用缩减到最小。由此,现代电影通过感知钝化、功能弱化和行动强化实现了对叙事性的突破。

All kinds of the possibilities of film art which created by famous directors had imperceptibly become conventions of later directors. In this regard ,Christian Matz has given us a convincing analysis in his modern film＇s ＂beyond narrativity＂. However, overestimate the methodology in the linguistics and semiotics, Matz has not really in-depth resolved within the film narrative. This text wants to analyse three kinds of representative ＂modern＇films, that is the Italian neo-realism film, the French New wave films and spectacle movies, from the point of suspense, the core of film narrative. And so, this text wants to provides a new way of analysis on the ＂beyond narrativity＂ in matzos ＂Modern film and narrative＂.