探索存在符号学电影批评理论建构的可能性与现实性——以电影《一个乡村牧师的日记》为例

Exploration on the Construction of Existential Semiotic Theory of Film Criticism——Taking the Film A Diary of A Country Priest as an Example

之前的电影符号学都没有涉及到电影文本中主体的精神运动轨迹。芬兰符号学家塔拉斯蒂提出的存在符号学,正是对主体运动的核心——超越进行分析。超越的事物可以是实际中缺席但在我们心灵出现的任何事物。电影如何通过可视化的方式来体现主体精神的运动,这是存在符号学电影理论所要研究的对象;电影的可视化方式是否将主体精神的抽象运动具体而成功地体现出来,是存在符号学电影批评的主要内容。布列松的电影《一个乡村牧师的日记》是一部具有超越风格的影片。通过梳理塔拉斯蒂和格雷马斯对这部同名小说的理论分析,以及施耐德发现的关于超越电影的实例,证明了建立存在符号学电影批评理论具有理论和现实的高度可能性和深刻必要性。

Traditional film semiotics are not related to the way how the spirit of subjects move in the texts of movies.One of the Finnish Semioticians,Eero Tarasti suggests that Existential Semiotics is to study transcendence,the key word of subjects’movements.Transcendent things can be those absent in reality but appear in our mind.How to reflect the movement of subjects’spirit through the visual way by movies is the goal of existential semiotic theory of films;and whether the visual ways of movies could successfully represent the abstract movement of subjects’spirit,is the main content of Existential Semiotic Criticism of films.Bresson’s film A Diary of A Country Priest is a transcendent style film.By describing the theoretical analysis of both Tarasti and Greimas towards this novel,as well as on examples of transcendent movies Schneider had found.This article is to approve that the establishment of Existential semiotic theory of criticism in films is very necessary and is of high probability no matter from theoretical or practical aspects.