摘要
《罗马风情画》在费里尼导演的作品系列中具有最少的情节和最丰富的情境,融合虚构与纪实的创作手段,采用互文、自反和暴露电影虚构机制的手段呈现出元电影本质。
ROMA,a feature film with the least plot and the richest context in the series of Federico Fellini’s works,reconciles the fictional and documentary principles and methods,and employs the means of intertextuality,reflexivity and exposing the fiction al mechanism to probe into the nature of meta-film.
作者
文先军
WEN Xian-jun(School of Journalism and Communication,University of Chinese Academy of Social Science,Beijing,102488)
出处
《山西大同大学学报（社会科学版）》
2021年第3期94-98,共5页
Journal of Shanxi Datong University(Social Science Edition)
关键词
情节
情境
相继性
虚构
纪实
元影片
plot
context
succession
fiction
documentary
meta-film
