《狗阵》:多重镜像与打破镜像的方法
Black Dog:Multiple Reflections and the Method of Breaking Reflections
程波1
作者信息
- 1. 上海大学上海电影学院;海温哥华电影学院
- 折叠
摘要
管虎导演作品《狗阵》的时空背景、人物群像、情节构架和影像风格都具有粗粝的现实感,但通过情节与意象的交织,内容血肉与形式美学的融合,特别是在多个层面建构起来的细密呼应关系,如同多重镜像将一个看似萧索朴素的世界映射得意义丰富,具有鲜明的艺术风格.人与狗、人群与狗阵、"归去来"与"再出发"互为镜像,本片在管虎的作品谱系中,在回归作者性且打破狭义自我中心的"破镜"平衡中,兼具了良好的可读性与深刻的人文思考.
Abstract
Director Guan Hu's Black Dog possesses a rough sense of reality in terms of its temporal and spatial background,character portraits,plot structure,and visual style.However,through the interweaving of plot and imagery,the integration of content and aesthetic form,and especially the meticulous echoing relationships constructed on multiple levels,it is like various reflections that map a seemingly desolate and plain world into a rich and meaningful one,with a distinct artistic style.The man and the dog,People and dogs,and"returning"and"starting again"are mirror images of each other,When placed within the context of Guan Hu's body of work,it also combines good readability with profound humanistic contemplation in a balance that returns to the author's nature and breaks the narrow self-centered"broken mirror".
关键词
多重镜像/作者性/人物群像/打破镜像Key words
multiple reflections/authorial nature/character portraits/breaking reflections引用本文复制引用
出版年
2024
NETL
NSTL
万方数据