山西抗日根据地木刻的跨媒介叙事

Tansmedia Narrative of Woodcut in Shanxi Anti-Japanese Base Area

作为抗战时期流行的宣传方式,木刻版画作品既是图像符号,也是图像传播媒介,它将人物的行动和事件组织起来,形成有情节的故事,构成意义世界的表达,完成叙事,实现故事的讲述者、文本与解读者间的互动交流。通过突出故事主题、聚焦故事主体实现语图叙事的协同,形成了意义并被记忆。其叙事功能的实现既依赖于创作者与读者之间的互动,也与其他媒介叙事共同构建了一致性的图像意义,即通过跨媒介叙事塑造集体记忆和文化记忆,唤起文化认同,通过情感叙事促进集体行动。因此,跨媒介叙事的核心不仅仅是其传播内容的形式,更重要的是符号—意义的生产,其现实意义在于成为构建历史记忆和人类文明进程的重要方式和实践路径。

As a popular propaganda medium during the Anti—Japanese War,woodcut printmaking works are both image symbols and image communication media,which organize the actions of characters and events,create story plots,represent the meaning of the world,complete the narratives,and realize the interactive communication between storyteller,text and interpreter.By highlighting the theme and focusing on the subject of the story,the meaning collaborated by words and images is formed and memorized.The realization of their narrative function not only depends on the interaction between the creator and the reader,but also constructs a consistent image meaning with other media narratives,that is,shaping collective memory and cultural memory through transmedia storytelling,arousing cultural identity,and promoting collective action through emotional narratives.Therefore,the core of transmedia storytelling is not only the form of its content;the more important is the production of "symbol-meaning".Its significance lies in being an important way and practical path of building historical memory and meaning production in the process of human civilization.