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好莱坞音乐喜剧今天继续被视为作为电影体裁的音乐喜剧的最佳表现形式。法国也出现了一定数量的不仅对白与唱词交替,而且唱词成为叙事的组成部分的影片,作者将其称之为歌唱片。本文将分析《大家相爱》、《摩登爱情》和《你,我,其他人》这三部法国浪漫喜剧。这三部片子的名称表明了法国当代民间电影的倾向,也就是将本国的某些类型的形式与属于好莱坞的类型程式化结构混合起来。由此产生的影片的文化杂交使得电影体裁固有的杂交成倍增多。本文旨在沿着突出电影体裁与性体裁之间关系的进路,试着研究这三部歌唱浪漫喜剧影片处理与性体裁相关的种种问题的方式。分析这三部影片各自将所讲故事搬上银幕和叙述的方式。作者论证了在这些影片中,浪漫喜剧的电影体裁法则是与“性体裁法则”为伴的。
Hollywood music comedy today continues to be considered the best representation of musical comedy as a genre of movies. There have also been a number of films in France that not only alternate between white and libretto, but also make the lyrics part of the narrative, which the author calls a record. This article analyzes three French romantic comedies, “Love each other,” “Modern love,” and “You, me, and others.” The names of these three films demonstrate the tendency of contemporary French cinema to bring together certain types of forms of the country and types of stylized structures belonging to Hollywood. The resultant cultural hybridization of the film doubles the inherent hybridization of the genre. The purpose of this article is to examine the ways in which the three singing romantic comedy films deal with issues related to sexual genres along the lines that highlight the relationship between genre and genre. Analyze the ways in which each of these three films portrays the story and narrates it. The author argues that in these films, the romantic genre’s movie genre rules are associated with “sexual genre rules.”