【作者】 温彩云；

【导师】 刘中树；

【作者基本信息】 吉林大学 ， 中国现当代文学， 2014， 博士

【摘要】 作为一种讲故事的机器，电影具备叙事性的基本特点。自从电影诞生开始，国内外学者关于电影叙事学的研究就在不断积淀。但是，新时期以来，随着改革开放的深入和发展、市场体制的介入和媒介的发展，中国社会思想和文学艺术的表现形式呈现出多元化的倾向。中国电影也经历了时代转折所带来的体制变革，中国电影作品呈现出了艺术性与市场性结合的复杂性特点，电影的叙事研究也进入了一个新的阶段。相对来说，国内学者对这个时期电影作品的叙事研究体系却并不完整。本文作者以新时期的中国电影作品为样本，利用源自西方的电影叙事研究的理论方法，与中国文学叙事研究的成果相结合，试图丰富电影叙事研究的理论体系，开拓新的跨学科研究空间。本文共分为五章，分别从原型叙事、色彩叙事、身体叙事、时间叙事和空间叙事五个领域对新时期中国电影叙事进行研究。从人类有了思考能力开始，对大自然和自我的探索就没有停止过，自我原型是人类千百年来不变的主体性表现，新时期电影中也有对自我原型的不断探索与思考。这种自我原型的探索在很多电影作品中是以长相相同的两位主人公来表现的，例如《月蚀》、《绿茶》、《苏州河》等作品。除此之外，利用舞台身份与现实身份的合一与区分来表现自我也是自我原型的一种方法。另外，自我的复杂循环、自我牺牲等原型也都在新时期电影中有所展现。弑父与杀子是一对相互依存的原型，中西方的神话无不表现了这样的原型存在。在新时期中国电影中，一方面是寻父、恋父的文化寻根意识和爱子惜子的延续意识，另一方面却是弑父的反抗意识与杀子的保全意识的原型展现。作为中西文化的古老命题，复仇也是原始意象之一。新时期电影的复仇原型以《赵氏孤儿》最为典型，是对中国复仇文化的独特诠释，这种忍辱负重的中国式复仇与西方的命运悲剧形成一个独特的对比。色彩是电影摄影艺术的四大造型元素之一，也是电影中重要的叙事符号。新时期的中国电影初期并不注重对色彩语言的运用，摄影师出身的导演张艺谋却在影片中对色彩运用的得心应手，不管是早期的《红高粱》，还是大片时代的开启影片《英雄》，都以对色彩语言的运用见长，尤其是《英雄》，用黑色、白色、红色和绿色四种色彩来直接进行叙事，每一种色彩的运用都奠定了不同故事的影调。《满城尽带黄金甲》则利用黄色来对王权至高无上的权威、人性的复杂与纠结、不伦之恋的炽烈和罪恶进行诠释。第六代导演娄烨的《紫蝴蝶》整个影片的影调则采用了紫色来和其主题呼应，运用饱满度不高的紫色将混乱时代小人物的绝望处境以及对时代的无力感表达出来，又与蝴蝶这个中国文化中富有意味的意象相联系，和蝴蝶外形上的美丽轻盈与其脆弱性结合，表现小人物在时代中的无常虚幻命运。身体是精神的寄居之所，是视觉符号的聚集之地。在电影叙事中，身体符号的意义也复杂多变，具有生存、生殖、欲望等诸多方面的指涉。首先，身体是灵与肉矛盾的挣扎之地；其次，身体是色情欲望的视觉符号；再次，身体是性别视角的快感源泉，这种性别视角主要以男性视角中的女性身体的展示为主，是男权社会对女性身体的窥视；第四，服饰作为社会文化的镜子和身体的符码，意义极其丰富，有时指涉性别确认，有时指涉性别迷失，有时又昭示内在情感，是社会文化的外在符号之一；第五，身体之所以被社会化，是经过了社会仪式的洗礼。在各种社会仪式中，身体被赋予社会价值的道德意义。一旦身体违背了这种道德意义，就被陷于暴力与酷刑中，展示着权力的胜利；最后，消费社会中，身体被不断编码和时尚化，身体的消费需求和消费感受成为消费社会的主流。在电影叙事中身体消费分为三个层面：身体被消费性塑形，甚至成为道德价值的标杆；身体本身就是被消费的对象；影像身体也是被消费的对象。电影叙事过程中，叙事时间是一个重要又复杂的概念。大多数学者对叙事时间是利用客观时间和主观时间来进行划分。笔者则认为，在电影叙事中，即使所谓的客观时间，也依托于主体的主观意识的感知。欧几里得时间遵循物理规律，不可逆性是它的基本特征。电影叙事中也含有欧几里得时间，主要是主体从外在的方式去认知的时间类型，包括事件时间、创作时间和观影时间三个类型。影视叙述时间被称为“非欧几里得时间”，其并不遵守日常生活的秩序，可以任意设定时间，叙事可以在叙述手段上对时间进行逆转和反向流动。笔者认为可以分为三种非欧几里得时间：信仰时间、心理时间和叙述时间。在对电影叙事时间主要是“非欧几里得时间”认识的基础上，笔者对新时期电影叙事的叙事时差、叙事幅度、叙事速度、叙事频率、字幕与声音要素等进行了总结，并认为新时期电影中时间叙事的常见手段为：时间的重复叙事和循环叙事的重复叙事形式，信息断点形成的延宕叙事，回忆形成的回溯叙事和对准将来的发展叙事。电影叙事空间并不同于物理学领域的空间，而是与主体有着错综复杂关系的概念。笔者借鉴列斐伏尔的空间观念将新时期中国电影空间划分为三种空间：现实空间、符码空间和心理空间。在现实空间的论述中，主要将自然空间与社会空间进行融合形成现实空间，认为乡村与城市的二元对立形成电影空间的主要空间模式。乡村作为文化之根，是精神之乡的聚集地。而作为乡土对立的另一端，城市空间作为现代文化与后现代文化的聚集地，成为现代化历程中中国形象展现的场所和转型期中国迷茫、焦虑和浮躁心境的展示地。在乡村与城市之间，具有中国特点的小城镇文化也成为介于乡村与城市之间模糊地带的指称，也成为第六代导演表现城市边缘人的重要表述场地。随着电影艺术的发展，环境空间开始脱离自然空间和社会空间的简单表意，而是开始根据艺术创造者的审美发掘产生意义的转换和抽象化,开始成为一种意义高度集中的符码空间。在叙事幅度较长、内容相对丰富的影片，符码空间成为一种更为经济的表现方式，如《黄土地》、《海滩》、《白鹿原》等影片中的黄土地、海滩、麦地、牌坊等形象就是意义复杂的符码空间。和外在空间相比，人类的心理空间显然更为广阔和复杂，表现人类心理空间的电影也更为扑朔迷离。《异度空间》、《女蛹》等心理影片对心理学中潜意识的表达，都给心理空间拓展了更大的表达空间。除了纯粹心理意识形态的表达，日常生活空间也作为心理学意义上的精神表征和投射成为新的心理空间，如家宅空间、地窖等意象都可作为电影叙事中心理空间的投射物。如上所述，笔者通过从五个视角对新时期中国电影叙事进行研究，试图补充和完善新时期中国电影叙事学的基础理论体系，为新时期中国电影叙事的某些研究视角提供完整的脉络，能够在学科融合过程中对其它学科的研究也能够起到一定的借鉴作用。更多还原

【Abstract】 As a story of the machine, the film has the basic characteristics of narration.Since the beginning of the film, domestic and foreign scholars’ research about thefilm narratology is in the continuous accumulation. However, since the new period,with the deepening and development of reform and opening-up, Chinese socialthought and literary form, art form have undergone tremendous change. China filmalso experienced the reform that the era turning brings, China films are showing thecomplexity combining art and marketability, research of narration film enters a newstage. In this paper, the author work on the China films in the new period, use themethod of the film narratology from the West, combine with the research results ofChinese literary narration, try to enrich the narrative theoretical system of the filmand open up space for the new interdisciplinary research.On the basis of introduction, this paper is divided into five chapters, archetypalnarration, color narration, body narration, time narration and space narration of thenew period of China film.From human have the ability of thinking, they have not stopping the explorationto the nature and themselves. The self archetype shows the subjectivity of human forthousands of years. The film in the new period is also exploring the self archetype.To explore the self archetype is represented by the same looks hero in many films,for example,"Eclipse","Green Tea","Suzhou River" and other works. In addition,using the unity of identity and the real identity is another method to explore the selfarchetype. The third, the complex circulation of self, sacrifice oneself is also shownin the new period film. Patricide and infanticide are interdependent in the archetype,the myth of the West and East both have the two archetype. In Chinese films in thenew period, on one hand, have the consciousness of seeking the father or culturalroots and the continuation consciousness of cherishing son, on the other hand, have the consciousness of rebelling father and killing son. As an ancient proposition ofChinese and Western culture, revenge is also one the original imagery.“The Orphanof Chao” is the most typical of revenge archetype in the new period films. It is aunique interpretation of Chinese revenge culture, forming a unique contrast inswallow humiliation and bear a heavy load of the Chinese revenge and westerntragedy of fate.Color is one of the four elements of the film photography, and is the importantnarration symbols in the film. In the new period Chinese early the films do not focuson the use of the color language, but Yimou Zhang, as a photographer, use the colorlanguage in his films, whether early "Red Sorghum", or "Hero". Especially the"Hero" use black, white, red and green to narration: each color has different storytone."Curse of the Golden Flower" uses yellow to interpret the supreme authority ofreign, the complexity of human nature and the bedroom blazing and sin. The sixthgeneration director Lou Ye’s "The Purple Butterfly" use the entire film tone bypurple to echo its theme, use purple of not full plumpness to express the desperationand powerlessness of the mere cipher in the mess era. Butterfly, a rich meaningimage of Chinese culture, has beautiful and light shape and vulnerability, alike withthe impermanent and unreal fate of the mere cipher.The body is the place of the spirit and the visual symbols. In the film narration,body symbolic significance is complex and changeable. It has the survival,reproduction, desire and many other aspects of the referent. First of all, the body isthe space where the soul and flesh struggle; Secondly, the body is the visual symbolof erotic desire; Thirdly, the body is the source of pleasure from gender perspective.The gender perspective, is mainly female body exhibition in the view of mal, beingpeeked by the male; Fourthly, as social culture mirror and body code, dress’ meaningis very rich: sometimes refers to sex determination, sometimes refers to gender lost,sometimes refers to emotion. The dress is one of the external symbols of socialculture; Fifthly, the body is socialization by the social ritual of baptism. In thevarious social rituals, moral meaning of body is endowed with social value, once the body against the moral, it will caught in the violence and torture, showing the powerof victory; Finally, in the consumer society, the body has been coded and fashion,the body’s consumption demand and feelings become mainstream of consumersociety. In the film narration, body consumption is divided into three levels: thebody is shaped by the consumer, and even become the moral value of benchmarking;body itself is consumed; image body is consumed.In the process of film narration, narration time is one of the most important andcomplex concepts. Most scholars think that narration time is to be divided by theobjective and subjective time. I think that, in the film narration, even the so-calledobjective time, also rely on subjective consciousness. Euclidean time obeys the lawsof physics, not reversible as its basic feature. The film narration also containsEuclidean time, which mainly is the main time to know from the external modes,including the creation time, event time and viewing time. Narration time of film iscalled the "non Euclidean time", which does not comply with the daily life order, beset arbitrarily, be reversed in the narration means. The author thinks that can bedivided into three kinds of non Euclidean time: faith time, psychological time andnarration time. Based on the recognition of the non Euclidean time, the authorresearched the narration time difference, narration range, narration speed, narrationfrequency, caption and audio elements. The author think that the common narrationmethod of the new period films is: time repetition and cycle narration form, delayednarration by the information breakpoint, the formation of memories back narrationwith the memory and development narration on future.The film narrative space is different from the field of physics space, buta concept of perplexing relationship with body. According to the space concept ofLefebvre in new era the China film space is divided into three kinds: the realityspace, the code space and the psychological space. The reality space is mainlyinclude natural space and social space. The author think that the main spatialpatterns is two opposite of the city and the country. As the cultural root thecountry gather spirit village. And as an opposition to the other end, the city space as the aggregation of modern culture and post-modern culture, show China image in themodernization history and show the confusion, anxiety andimpetuous mood. Between the rural and city, the small towns culture has becomea reference fuzzy zone, also become the important representation of the SixthGeneration Directors to express the edge people of the city. With the development offilm art, the environment space break away from simple ideographic of the naturalspace and social space, but began conversion to produce the transference ofmeaning and abstraction according to the aesthetics of art creators, becomea highly centralized code space. In the film which narration range is longer andcontent is relatively rich, code space becomes a more economical way of expression,such as the yellow land, beach, wheat fields, archways and so on in "Yellow Land","The Beach","White Deer". Compared with the outer space, the psychological spaceof human is more broad and complex, expression of human psychological space infilms are more whirling. The psychological film such as "Lawnmower Man","Female Pupa" expand the space of the expression by psychology subconsciousexpression. In addition to a pure expression of psychological ideology, daily livingspace, as a spiritual character and projection psychological sense, become newmental space, such as house, cellar space images can be used as projectilespsychological space in the film narration.As mentioned above, the author research from five perspectives of China filmnarration in the new era, and try to supplement the basic theory system ofChinese film narratology in the new era, to provide the complete context forsome perspective of Chinese film narration in the new era, to play a certainreference role for the research on other disciplinescan in the the fusion process ofdiscipline.更多还原