《归来》的“超政治化”叙事与“历史屏蔽”——从《陆犯焉识》的电影改编管窥张艺谋电影叙事模式

Coming Home's Surpassed Politicized Issue and History Displacement——The Cinema Adaptation of “Post Scar-novel” “LU Yan-shi”

电影《归来》尝试以光亮的影像外表完成历史的救赎。然而,这种对跌宕苦难历史的想象式解决,只能权作对意识形态的铭文式书写,无法承载历史灾难之重。张艺谋只能在一次次意识形态书写中,以经典的传统叙事方式对历史做出巧妙屏蔽。这部影片在以特殊的叙事模式消弭"敏感政治"强烈压抑的同时,也简化了观众有关复杂中国历史的文化想象。通过进一步反思电影的历史深度,分析影片从小说文本中所选择和加工的事实合理性,可以全息地透视影片所呈现的特定意识形态。

The movie Coming Home tries to complete such envision of history suffering can hardly bear the history＇s redemption by bright image. However, weight of history＇ s ponderous burdeon. Director ZHANG Yi -mou seeks to permute history tactfully and clear up history intangibly. Such solution means veiled cruel history by entertainment culture, and takes a look of purpose of this paper lies in studying the movie＇ s special ideology nal novel, and so vividly rethink the complicated history. effectively evading political taboo. The through the edited facts from the origi-