电影化叙事的三大修辞论

Three Kinds of Rhetoric of Film Narration

电影化叙事是电影存在的本质,即用电影特有的观念、方法和手段,创造形象(影像)来叙事。剪辑、特写和奇观,是电影化叙事的三大特有文法,或者说是三大特殊修辞,也可以说是电影化叙事的三种最重要手法。作为叙事文法的影像连接——"剪辑",使运动影像具有了真正的叙事功能。传统的剪辑技法,遵循的是生活逻辑与叙事逻辑的统一。特写镜头是电影中极其重要的艺术修饰手法之一。电影的特写对影像动作的放大,在画面构成上具备了突破四面镜框的张力,本身就带有很强的动作性。奇观性一直存在于电影的发生与发展中。尤其是在电视在世界范围内普及以后,作为电影化三大修辞词之一的奇观性,影像的电影化叙事,随着技术的进步,其作用已变得日益重要,甚至提升为一种修辞美学:作为特殊语言的"奇观",已不仅是简单的依赖电影技术的魔力声光,而是复杂的魔力美学。这不是电影为了生存的另辟蹊径问题,而是作为电影的艺术原理,随着技术与商场的变化产生的应变性改变。如果说"剪辑"是电影化叙事特有的文法,"特写"是电影化叙事特有的句法,那么,奇观就是电影化叙事特有的词法。电影化叙事的三大修辞——剪辑、特写和奇观,都与人类技术的发展紧密相关。在某种意义上,我们可以这样说,没有人类技术的进步,就没有剪辑、特写和奇观的电影化叙事,没有这种电影化叙事,也就没有电影的存在。

Film narration is to create images and narrate with film concepts, means, and measures. Editing, feature, and spectacle are three kinds of rhetoric of film narration or we can say that they are three most important measures of film narration. Editing makes motive images to own a true narrative function. Traditional editing skill adheres to the unity of living logic and narrative logic. Feature shot is to enlarge the image motion so as to highlight its strength. As a special language, spectacle is a complex magic sound and light. As three kinds of rhetoric, editing, feature, and spectacle is very closely related to human technology and development. We can say that, if there is no human technology advancement, there will be no editing, feature, and spectacle. And if there is no such film narration, there will be no films.