记忆与生产——评电影《钢的琴》

《钢的琴》不应被简单地看作现实关怀与奇思妙想的二元组合,从历史记忆再生产的角度来看,这部电影中没有任何＂超现实＂的元素。影片主人公被同时赋予了三种身份：工人/表演者/父亲。正是这三种身份的内在关联,构成了支撑起整个影片叙事的记忆/生产框架。在此框架中,不存在工业、家庭、艺术等领域的区隔或对立,唯一存在的是形式多样的生产实践。影片通过断裂与自反,使叙事的前提、动机和逻辑发生了置换,一个通常意义的好故事（底层的忧伤与幻想）蜕变成了另一个＂不同的故事＂：父亲之名的重建。

The Piano in a Factory cannot be simply considered as a film with the realist content and the super-realist form. There is no super-real element in the film reproducing the historical memory. And the hero in the film is endowed with three identities： worker / actor / father. It is the unity of the three identities that constructs the memory / production of the film. In the construction,there is no distinction between domains of family,art and industry,all of which are the production in various forms. Through the break and reflexivity,the precondition,motive and logic of the narration are displaced inthe film,so that a generally accepted good story（ the misery and fantasy of plebs） is transformed into another story： the reconstruction of the Name of the Father.