影像化语言的“后情感”危机——以李碧华小说语言为例

A Post-emotional Crisis in the Imagistic Language, with Lilian Lee Pik-Wah's Fictional Language as an Example

李碧华的小说颠覆了传统意义上的写作模式,更多的是运用影视技法来架构小说,这使得她的小说具有明显的"剧本感"和"镜头感",此类小说可称之为"影像化小说"。不可否认,影像化的叙事手法在很大程度上拓展了李碧华小说的叙事空间,亦为影视的顺利改编创造了先天的条件。但不容忽视的是,"时间空间化"策略所导致的"后情感"心理,亦在很大程度上侵蚀着此类小说的审美品格。

Lilian Lee Pik-Wah＇s fiction subverts the writing mode in the traditional sense by using film or television techniques to structure her fiction, with the result that her fiction has a clear‘script＇or‘lens＇ feel, and that such novels could be termed‘imagistic novels＇. Although there is no denying that imagistic narrative methods, to a large measure, have expanded Lilian Lee Pik-Wah＇s narrative space and created innate conditions for her work to be adapted to films or television dramas, it can＇t be ignored that the post-emotional psychology, induced by the strategy of turning time into space, has eroded the aesthetic qualities of such fictions.