瘟疫电影:灾难叙事的类型建构与在地实践

Plague Film:A Genre Structure of Disaster Narrative and Its Local Practice

瘟疫电影作为灾难电影的子类型,既继承了灾难电影的一般叙事要素,又在传统叙事模式下变奏出独具一格的话语体系,营造出特定的社会文化想象图景。根据想象元素涉及程度和叙事重心的差别,瘟疫电影可分为软科幻的寓言想象和全纪实的社会构想两类,并在多元叙事结构与密闭压缩时空下展现群体与权力的冲突。从后经典叙事学的理论视角出发,瘟疫电影作为意识形态容器突出“冷战”与后“冷战”政权下的灾难书写,作为社会想象关注身体感染与社会秩序的崩盘,作为人性表征体现个人欲望与情感价值,呈现出对人类物质和精神世界的观照。在此基础上继而分析我国瘟疫电影在地实践中存在的叙事模式单一等问题,提出从电影观念变革、叙事想象力提升、价值表达升维等角度革新本土瘟疫电影的艺术实践,探索具有中国特色的瘟疫电影创作路径。

As a subtype of disaster film,plague film not only inherits the general elements of disaster film,but also acquires a new and unique discourse system under the traditional narrative mode,creating a specific picture of social and cultural imagination.In the light of different involvement of imagination elements and narrative focus,plague films can be classified into allegorical imagination of soft science fiction and social conception of full documentary,the two of which show conflicting groups and power under the pluralistic narrative structure and closed and compressed time and space.From the theoretical perspective of postclassical narratology,plague film,as an ideological container,highlights disaster writing under the regimes during and after the Cold War;as a social imagination,it pays attention to the physical infection and the collapse of social order;as a representation of human nature,which reflects individual desires and emotional values,it presents a contemplation of human material and spiritual world.On this basis,we analyze the problems in the local practice of plague films in China such as single narrative mode,put forward innovative ideas in the artistic practice of local plague films from the perspectives of changing film conception,improving narrative imagination and elevating value expression,and explore the ways of creating plague films with Chinese characteristics.