杨义叙事学理论观照下的《误杀》叙事解读——兼与《误杀瞒天记》比较

The Interpretation of Sheep Without a Shepherd Based on Yang Yi’s Theory of Narratology

柯汶利电影长片处女作、陈思诚监制的《误杀》,因原印度版本《误杀瞒天记》珠玉在前而引发翻拍是与非的讨论,比较之下,中国版本在叙事势能、因果逻辑与留白方面,有着鲜明独特的中国叙事风格,体现出犯罪类型片的中国叙事特征;且在主题意义上,在情与法罪与罚之外,更加偏重转向讨论群众集体无意识的社会意识问题,比之原版有新的价值建构;“良心主义”德性内涵之下的自首,更体现出我国电影伦理美学的特征。

The first work of Covenley's film,“Sheep Without A Shepherd”,caused a discussion on the right and wrong of remake because the original Indian version which was in front of it.In comparison,the Chinese version has a distinct and unique Chinese narrative style in narrative potential,causal logic and blank space,reflecting the Chinese narrative characteristics of crime type films.And in the sense of theme,in addition to emotional and legal crimes and punishments,more emphasis has been placed on the discussion of the social consciousness of the masses'collective unconsciousness,which has a new value construction compared with the original version.The surrender under the moral connotation of"conscience"embodies the characteristics of Chinese film Ethical Aesthetics.