从《江湖儿女》看贾樟柯电影空间美学系统建构

The Construction of Spatial Aesthetics in Jia Zhang-ke's Ash Is Purest White

对空间的探索与建构是贾樟柯电影中的重要命题。从早期"故乡三部曲"透视时代转型、凝视现实之痛,形成"故乡"这一空间概念开始,到《世界》《天注定》《三峡好人》等,导演通过不断地出走故乡来延伸自己的电影空间。在这一"出走"模式中,相同影视元素的重复出现,勾连起一个初具形态的空间体系。在新作《江湖儿女》里,贾樟柯再次以绵长的历史纵深呈现时空遽变中微妙的情感体验,在"出走"与"回归"的二律悖反中,逐步完善其电影空间系统。本文以贾樟柯电影文本的互文性、影像叙事策略的A/B面,阐释贾樟柯电影独具特色的空间美学系统。

The exploration and construction of space is an important theme in Jia Zhang-ke’s movies. He builds the concept of "hometown" in his early Hometown trilogy, and then extends the concept by "leaving hometown" in The World, A Touch of Sin, and Still Life. In these movies, the repetition of similar elements constructs a elemental spatial system. In Ash Is Purest White, Jia uses historical changes to reflect emotional experiences, and complements his spatial system in the movies. This article discusses the intertextuality and the A/B narrative in Jia’s movies, to reveal his unique spatial aesthetics.