论喜剧电影中的荒诞性——以黄建新喜剧电影为例

On the Absurdity of Comic Films——Taking Huang Jianxin's Comic Films as an Example

将荒诞性视为一个非悲非喜的中立性美学范畴,既有利于跳脱出传统意义上对喜剧与悲剧美学特征的片面把握,也有助于在兼顾不同艺术门类形式媒介重要性的同时,合理扩大荒诞性范畴的批评界域。在喜剧电影中,“人的物化”和“喜剧性矛盾”是最为典型的荒诞性生产机制。“人的物化”强调从主体性角度出发对艺术作品中的荒诞性进行思考,指向“实践”和“情感”双重受限的生存境遇中喜剧主体自主性的被遮蔽。“喜剧性矛盾”存在于喜剧作品全面呈现的悖论式结构中,体现为喜剧对象的“自我背反性”矛盾和共存于被表现主体与审美主体之间的“反常性”矛盾,二者的结合在架构出喜剧电影可笑性特征的同时,也深化了其反思力和批判性。

Taking absurdity into the category of neutral aesthetic not only breaks the limit of the traditional imcomplete grasp of the aesthetic characteristics of comedy and tragedy,but also expands the critical field of absurdity while taking into account the importance of form media of different art.In comic films,"objectification of human being"and"comic contradiction"are the most typical production mechanisms of absurdity."Objectification of human being"emphasizes thinking about the absurdity in artistic works from the perspective of subjectivity,directing to the obscuring of the autonomy of the comedy subject in the living conditions of dual restrictions of practice and emotion.The"comic contradiction"exists in the paradoxical structure of the comedy works,which is reflected in the"self-rebelliousness"contradiction of the comedy object and the"abnormality"contradiction coexisting between the represented subject and the aesthetic subject.The combination of the two contradictions not only constructs the comical features of comic films,but also reinforces its reflective power and criticality.