极端·荒诞·妥协——论影片《我不是潘金莲》的叙事特征

Extremeness,Absurdity and Compromise——On the Narrative Features of the Film I Am Not Madame Bovary

《我不是潘金莲》在形式上采用了圆形、方形和宽银幕的构图方式,造成了一种间离效果,将观众从叙事中剥离出来,并在这一剥离中使观众增强对影片主题的接受;其次,在叙事上,导演通过李雪莲三次放弃上访,把影片的叙事重心由制度转向个体,事件的本质也由理性滑向了荒诞,这一转变化解了政治题材的敏感性,削弱了影片的批判力度;最后,叙事重心转移造成的荒诞性是影片中小人物话语缺失后对生存困境的妥协。从形式到叙事再到主题的表达,体现出现实中导演对审查制度以及影片中角色对政治制度的双重妥协。

The filmI Am Not Madame Bovary adopts a formal technique of circular composition in square and wide screen,producing an alienation effect,which distances the audience from the narrative and makes the audience accept the enhancement on the theme of the movie in the detachment.Then,through Li Xuelian's three attempts to abandon the petition,the narrative focus shifts from the system to the individual,and the essence of the event slides from reason to absurdity,which changes the sensitivity of the political subject and weakened the criticism of the film.Finally,the absurdity of the shift of narrative focus is the compromise of the survival dilemma in the lack of discourse on the part of marginal characters.The form,the narration and the expression of the theme combine to reflect the double compromise between the director's system of censorship and the character of the film in the political system.