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自电影艺术出现以来,其叙事形态的发展共经历了三种主要模式,分别是经典叙事、现代叙事和后现代叙事,在冯氏贺岁片中,其所运用的叙事模式承袭了上述三种主要叙事形态,而由于冯小刚一贯秉承的以市场为导向、以观众为目标的创作原则,关于现代主义叙事形态,他只是有选择的吸纳了其高度关注社会现实的这部分理念。在继承的同时,冯氏贺岁片还对三者间的界限进行了模糊处理,将每一种叙事形态中契合影片自身内容的特点提炼出来,重新融合,共同作用于影片的叙事过程中,形成了具备当代电影叙事形态特色的发展趋势,加之其以“更多的时间我是一个观众,我不是一个导演”的理念而特别注重对市场需求和大众接受习惯的迎合,紧随时代潮流积极吸取新鲜的创造构成元素,屡次创作票房奇迹便显得轻而易举。本文将从经典叙事形态的弱化和后现代语境下的景观电影倾向两个方面对冯氏贺岁片的叙事策略加以讨论。
Since the advent of film art, the development of its narrative has gone through three main modes: classic narration, modern narration and postmodern narration. In the Feng Lunar New Year Films, the narrative mode it uses inherits the above three main Narrative form, and because of Feng Xiaogang always uphold the market-oriented, the audience as the goal of the creative principle of modernist narrative form, he has only selectively absorb its high degree of social concern about this part of the concept. At the same time of inheritance, Feng’s Lunar New Year film also obscures the boundary between the three, and extracts and reintegrates the features of each narrative in conformity with the content of the film itself to act together in the narrative process of the film to form With the trend of contemporary movie narrative features, combined with its “more time I am a spectator, I am not a director” concept with special emphasis on market demand and the public acceptance of the habits, followed by the trend of the times Positive absorption of fresh elements of the creation of multiple box office wonders will be made easy. This article will discuss the narrative strategies of Feng’s New Year Films from two aspects: the weakening of the classic narrative forms and the tendency of landscape films in the postmodern context.