魅影、双生与镜像:论中国早期电影中的"复摄"
Phantom,Twins,and Mirror Image:On Double Exposure in Early Chinese Cinema
苏涛 1王涵玉1
作者信息
摘要
"复摄"是在中国早期电影中得到充分运用的摄影技术,从作为20世纪20年代神怪武侠片的戏法手段,到作为30年代"双生"电影的叙事工具,"复摄"完成了从视觉趣味到电影修辞的转变,折射出中国早期电影在叙事与美学上的双重转向."复摄"通过二次曝光的技法呈现出的"分身"魅影,成为社会剧变带给个体身份焦虑的银幕寓言.20世纪二三十年代在中国电影史上频繁出现的"分身"热潮,与彼时纷繁复杂的文化景观构成了相互指涉的镜像关系.
Abstract
Double exposure is a photographic technique fully utilized in early Chinese cinema.From a trick technique used in martial arts films of the gods and spirits in the 1920s to a narrative tool used in"twins"films in the 1930s,Double exposure completed the transformation from visual interest to film rhetoric,reflecting the dual turn in narrative and aesthetics in early Chinese cinema.The phantom of Doppelgänger presented by the technique of double exposure has become a screen allegory for the anxiety of individual identity brought about by the drastic changes in society.The Doppelgänger craze that frequently appeared in the history of Chinese cinema in the 1920s and 1930s constitutes a mirrored relationship of mutual references with the complex cultural landscape of the time.
关键词
早期电影/复摄/分身/现代性/女明星Key words
early cinema/double exposure/Doppelgänger/modernity/the female star引用本文复制引用
出版年
2024
NETL
NSTL
万方数据