中国电影中的季节叙事策略——以《春蚕》和《小城之春》为例

The Seasonal Narrative Strategy in Chinese Films:Cases of The Spring Silkworms and Springtime in a Small Town

四时中的二十四节气、七十二物候能给电影的语言带来更多的表现空间和可能,其作为贯穿中国传统文化的具象化时间与空间,不仅仅在早期的电影中有所体现,而是一脉相承地隐匿在许多创作者无意识的叙事策略中。改编自茅盾同名小说的《春蚕》,采取了以春天这一季节为背景,依据蚕的生长足迹的时间顺序进行叙事,展现了20世纪二三十年中国农村人命运多舛的生存面貌。"春天"在影片中是表现主体,直接参与叙事,它影响蚕的生长,也时刻决定着主人公的情绪和命运。《小城之春》中的"春"不仅是大自然的时间意象,更具有一种象征意味。在该片中,它不参与任何故事推进,却无不在描绘着一种本该热闹却无奈宁静的初春景象,无不为勾勒一群毫无生气的人、一个破败的家、一个衰落的国而服务;大自然的"春"的时间与空间概念失语了,而每个个体身中的生命意志则苏醒了——由此,其独特的叙事张力和审美效果形成。

The 24 solar terms and the 72 biotemperaturesin the four seasons bring more space and possibili-ties to the film language. As objectified time and space in Chinese traditional culture, they were not onlyseen in early films but also hidden in the unconscious narrative strategies adopted by many authors. The filmThe Spring Silkworms, which is adapted from Mao Dun＇s novel, used spring as the background of this reasonto tell the story according to the temporal sequence of the growth of silkwomls, depicting Chinese villagers＇miserable lives during the 1920s and 1930s. The ＂spring＂ is the subject of this film and it directly takes partin the narration, influences the growth of silkworm, as well as the emotion and the destiny of the leadingcharacters. The ＂spring＂ in the film The Spring of a Small Town is not only an image of the time of the na-ture but also a symboh In this film, the ＂spring＂ is not involved in the improvement of the story, however,it depicts a quiet but not lively early spring, serving as a background of a group of lifeless people, a brokenfamily, and a declining countcy. In this way, the time and space of the ＂spring＂ of the nature lose its powerwhen the will of life within evel7- individual awakes. Thus, the unique nan＇ative tension and aesthetic effectare created.