神话原型叙事在电影中的实践——以《海上钢琴师》为例

Practice of Mythological Prototype Narration in Films: Taking The Legend of 1900 as an Example

神话的背后是人们的信仰问题。《海上钢琴师》蕴含大量具有希腊神话和圣经元素的意象,该片中的大海与海神波塞冬、钢琴师1900与希腊神话中的“弃子”、1900与音乐之神阿波罗、“维吉尼亚”号邮轮与诺亚方舟,以及1900与神秘女孩的“爱情”对应于阿波罗与达芙妮的爱情等,在某种程度上,用弗莱的话讲,这是一种“移位的神话”。在神话原型批评理论视野下,从该影片在叙事结构、人物设置、意象选择和主题的构建上,我们可以发掘出其背后的神话原型。通过对影片中出现的原型意象进行解码,挖掘其背后的文化内涵,不仅可以帮助人们理解电影的深层次内涵,也为电影文本的解读提供了新的视角。

People's beliefs are behind the prototype.The Legend of 1900 contains a lot of prototype images with elements of Greek mythology and Bible.In this film,the sea and Poseidon,the pianist 1900 and the abandoned son in Greek mythology,the protagonist 1900 and the music god Apollo,the cruise ship Virginia and Noah's Ark,and the"romance"between the pianist 1900 and the mysterious girl corresponding to the love between Apollo and Daphne,which are under the mapping of mythological prototype,to a certain extent,are a"shifting myth"in Frye's words.The film and the mythological prototypes share common features in narrative structure,character setting,image selection,and theme construction.Using the theory of mythological prototype criticism to explain the image appearing in the film and the cultural connotation behind it provides a new perspective for the interpretation of the film text.