拼贴的历史叙事与暴力的魔幻呈现——第六代的叙事转向与《天注定》的文化解析

Historical Montage and Violent Fantasy——Narrative Turn of the 6^(th) Generation and Cultural Interpretation of A Touch of Sin

《天注定》摘得2013年戛纳电影节最佳编剧奖,是贾樟柯里程碑式的新作品。影片保持了贾樟柯一贯的纪实风格和底层视角,是贾樟柯聚焦当下中国、书写民间记忆的延续和发展。然而,影片拼贴的叙事方式与纪实风格追求的"真实"却产生了难以缝合的断裂,也让个体化的历史叙事消弭在后现代的拼贴叙事之中。大量的动物形象、常常隐现的宗教意象,让电影关于"现实"暴力的言说呈现出更加复杂多元的荒诞与魔幻意味。

A Touch of Sin won the Best Screenplay Award at the 2013 Cannes Film Festival, which is a milestone film of Jia Zhangke＇ s works. The film maintains Jia＇ s consistent documentary style and unprivileged perspective, continuing and developing his focus on the current state of China and writing of folk memories. However, an irreparable breakage was generated between the montaged narration and pursuit of ＂reality＂ through documentary style in the film, as a result of which individ- ualized historical narration disappears among post-modem montage. A large number of animals and religious images that often appear indistinctly have endowed the cinematic language about ＂realistic＂ violence with more complex and multi-component implication of absurd and fantasy.