符号的魅力——从能指理论看后现代主义电影《迷墙》

The Charm of Semiotics——An Interpretation of the Postmodernist Film The Wall from the Perspective of Lacan's Theory of Signifier

雅克·拉康认为符号能指与所指具有不确定性和多重性。后现代主义消解颠覆了能指与所指二元对立的符号系统,削平了深度模式,具有独特的符号魅力。后现代主义电影《迷墙》中电影符号的能指与所指随着影片情节的发展,展现其不确定性和多重性,甚至在能指与所指的分离中所指的意义也随之消失。各种漂浮不定的电影符号呈现了一个带有神经质色彩的破碎世界,体现了后现代主义电影反主流价值体系、主体情感消解、不确定性等特征,使得该片具有经久不衰的魅力。

Jacques Lacan holds that the signifier and the signified in semiotics characterize the uncertainty and mul- tiplicity. The Postmodernism has the unique charm of the semiotics, which dispels and subverts the sign system of dualism, and scapples the deep pattern. With the development of the plots in the postmodernist film The Wall, the film semiotics become uncertain and multifarious, even the senses behind the signified vanish in the segregation of the signifier and the signified. All kinds of the floating semiotics take on a nervous and divided world. This reveals the uncertainty, the rejection of the mainstream value system and the digestion of main body emotion in The Wall, which gives it the enduring and profound charm.