中国诗电影探幽——比较视阈下的诗影共谋

Poetry-Film in China:A Comparative Study of the Convergence of Poetry and Cinema

在电影《妖猫传》中,文学与电影叙事融合与互动。《长恨歌》作为该电影的背景文本,其诗歌意象的电影表现能越过影像本身的叙事性-诗性之争,引领我们考察电影诗性再阐释的潜质。在现代诗人洛夫的同题诗中,唐代诗人白居易所作《长恨歌》中频繁出现的芙蓉意象被具有异质性的蔷薇意象所取代,喻示其影射的杨贵妃形象由中国传统诗学话语体系转向中国当代诗学话语体系的蜕变;而在电影《妖猫传》中,两种花意象相互交缠,凭借《长恨歌》文本的文学叙事性与影片镜头语言的非叙事性共生为一种突破载体意识的诗性,进而实现一场模糊载道与言情之界线、回归本土形象思维的诗影共谋。

The film Legend of the Demon Cat is unique in the convergence and interaction of literature and cinema narrative.The cinema expressions of the poetic images in Bai Juyi’s“Song of Everlasting Sorrow”which is made as the background text,are able to transcend the narrative/poetic binary and lead us to the potential reinterpretation of the poetics of cinema.In modern poet Luo Fu’s same titled poem“Song of Everlasting Sorrow”,the frequently occurring images of lotuses in Bai’s version created in Tang Dynasty are replaced by the images of roses.This transformation signifies that the depiction of the Imperial Concubine Yang has changed from the traditional discourse system of Chinese poetics to that of contemporary poetics.In the film Legend of the Demon Cat,the images of lotuses and roses converge with each other,and the literary narrative of the“Song of Everlasting Sorrow”in the textual form and the non-narrative of the lens language of the film work together to achieve a poetic effect that breaks away the limit of carrier awareness.The coexistence further contributes to the breakdown of the demarcation between moral preaching and romantic narrative,returning to the poetry-film convergence of local visual thinking.