嫌疑人X的实存——电影《嫌疑人X的献身》中的哲学

The Real Existence of the Suspect X: The Philosophy in the Film The Dedication of the Suspect X

东野圭吾的《嫌疑人X的献身》被拍摄成中国背景下的故事,并不是简单地将个别元素改变成符合中国人习惯的元素。值得注意的是,在中国版的《嫌疑人X的献身》中,从中段展开对傅坚案件的叙述,这个变化实际上造成了从原著以靖子-石神为中心的叙事到中国版电影中唐川在明、石泓在暗的对立叙事这一转变,唐、石二人的对立恰恰对应于物理学可见性与数学可见性的对立。在结局时,陈婧的忏悔和自首,产生了与石泓计算的强奇点对立的另一个强奇点,即情感的帕索斯的强奇点。这样,真正的张力是石泓的逻各斯与陈婧的帕索斯之间的张力。无论是东野的小说,还是苏有朋的电影,都将天平最终倾向了帕索斯一边。

Keigo Higashino＇s novel The Dedication of the Suspect X was adapted and shot against the background of China,in which specific elements were not simply swamped into those catering to Chinese habits. One thing worth mentioning is that in the Chinese version of The Dedication of the Suspect X,the killing of Fu Jian is presented in the middle of the narrative rather than at the begining. The shift marks the transfer of the main thread of narration from the original protagonists Yasukoand Ishigami to the opposition between film characters Tang Chuan on the bright side and Shi Hong on the secretive side. The opposition between the two reflects exactly the contrast between visibility in physics and visibility in mathematics. At the end of the story,Chen Jing＇s confession and surrendering herself to the police produced another strong singularity—the pathos,opposing to that of Shi Hong＇s calculation. So,the real tension in the story is that between Shi＇s logos and Chen＇s pathos. In either Higashino＇s novel or Su Youpeng＇s film,the scale tilts to pathos.