摘要
波德维尔在著作《谜题情节:通俗叙事与谋杀诗学》中,借用“中庸现代主义”一词说明高雅与通俗之间并没有泾渭分明的界限,悬疑小说便以其在叙事形式上的创新和对观众认知能力的挑战标识自身的艺术品性。悬疑小说的叙事核心,在于引导读者对谜题情节的推理;由此,该类型小说的三大流派分别形成了各自的谋杀诗学,并逐渐走向融合。与此同时,悬疑作家也在不断借鉴电影中的形式技巧,而以希区柯克、昆汀为代表的电影导演们则试图通过鲜明的风格致力于谋杀诗学的跨媒介转换。
In his work PERPLEXING PLOTS: Popular Storytelling and the Poetics of Murder, David Bordwell employs the term“middlebrow modernism”to illustrate that there is no clear-cut boundary between elite culture and popular culture. Mystery novels distinguish their artistic qualities through innovations in narrative form and by challenging the audience's cognitive abilities. The narrative core of mystery novels lies in guiding readers' reasoning about puzzling plots. As a result, the three major genres of mystery novels have formed their respective poetics of murder and are gradually converging. Meanwhile, mystery fiction writers are constantly drawing on formal techniques from films, while film directors represented by Hitchcock and Tarantino are striving for cross-media transformation of The Poetics of Murder through distinctive styles.
出处
《电影理论研究（中英文）》
2024年第3期83-93,F0002,共12页
Journal of Film Studies
基金
国家社会科学基金西部项目“国际传播视域下新世纪少数民族题材电影的中华民族共同体认同建构研究”的阶段性研究成果(项目批准号:22XXW001)。
关键词
波德维尔
谋杀诗学
通俗小说
《低俗小说》
谜题情节
跨媒介转换
David Bordwell
The Poetics of Murder
Popular Fiction
Pulp Fiction
puzzling plot
transmedia conversion
