《宠儿》美学风格初探——“异质影像空间”下的历史再现与主体重构

An Exploration of the Aesthetic Features of The Favourite:Historical Representation and Cultural Reconstruction in the"Heterogeneous Cinematic Space"

兰斯莫斯导演的《宠儿》一片以其诡异的影像风格,叙述了18世纪初英国宫廷中三位女性的权力博弈争斗。通过对本片风格化影像的美学探究,结合布莱希特的“间离化”戏剧理论,文章阐释兰斯莫斯通过对影像元素的非常规运用,成功地在影片文本内打造出一个“异质影像空间”,并不断挑战影片稳定完整的影像表意结构,从而达到了一种对历史景观的讽喻式再现,一种对经典历史电影叙事的解构与反思。这种“自我否定”式的影像景观书写,推动着观影主体对影像文本的思辨式接受。

The Favourite,a film by Yogos Lanthimos,depicts the power struggle among three women against the background of the 18th century English court.Through an analysis of the film's cinematic features,this paper attempts to interpret it with special emphasis on its defamiliarization effect.In his break with the classic cinematic formula,Lanthimos creates a"heterogeneous cinematic space"in the structure of the film.By constantly undermining the stability of the narrative,the film deconstructs the classic cinematic representation of history.Such a"self-denying"cinematic innovation also calls for a critical reception of the cinematic text among the audience.