《三大队》:孤勇者、银幕“分身”与新时代平民英雄叙事

Endless Journey:Lonely Warrior,On-screen Alter Egos and the Narrative of the New Era's Civilian Heroes

《三大队》用扎实的视听语言与文学性场面调度,为主要人物程兵创设了五重银幕“分身”,分别以相对完整的人物小传,引申出主人公重返社会可能面临的不同生活选项。经过重逢与告别,他们各自与生活和解,与“我执”和解,出色的写实长镜头传达出“温暖现实主义”的美学旨趣。影片文本超越一般商业类型意义的犯罪片或公路片,三幕剧涵括“一人”到“众人”再到“一人”的缉凶之旅,通过朴素的民间侠义叙事,完成了对新时代平民英雄的群像塑造和美学张扬。

Endless Journey employs solid audio-visual language and literary mise-en-scene to create five layers of on-screen“alter egos”for the main character Cheng Bing.These are presented with relatively complete character backstories,each extending into different life options that the protagonist may face upon reintegrating into society.Through reunions and farewells,they reconciled with life and resolved their egotistic obsessions.The outstanding realistic long takes convey the aesthetic purpose of“Realism with warmth”.Going beyond the typical commercial genres of crime or road films,the three-act structure encompasses the journey from“one person”to“a group of persons”and then back to“one person”in the pursuit of catching the culprit,accomplishing the group portrayal and aesthetic expression of civilian heroes in the new era by a simple and plainfolkchivalrousnarrative.