摘要
音乐修辞是以修辞学原理分析音乐表达的一种理论视野.但在影视文本中,音乐修辞所拓展的叙事功能常常被忽略.本文选取白先勇小说影视化过程中颇具音乐特色的作品《孤恋花》《一把青》《金大班的最后一夜》为讨论对象,分析影视文本中涉及的音乐作品在影视表达过程中所展现的情绪助力、话题隐喻,由此深入挖掘音乐生产的时代性、历史性以及音乐叙事过程中所搭建的"台北人"在"今昔对比"的情感困顿之外更深广的精神空间与在地空间.特别是其中突出表现的两岸底层女性关于"爱"与"家"的追寻难题,以及时代洪流中个体命运、民族情怀、家国想象之间一次次遥远的呼应,呈现出 1987 年以来台湾电影人在技术、光影之外,试图通过音乐修辞传达关于"情"的经验、"家"的议题和"国"的脉络的影视叙事肌理.这也是音乐语言超越形式结构而颇具现实意义的重要修辞面向.
Abstract
Musical rhetoric is a theoretical perspective to analyze musical expression based on rhetoric principles.However,in film and television texts,the narrative function generated by music rhetoric is often o-verlooked.This paper discusses Pai Hsien-yung's novels,Love's Lone Flower,A Touch of Green,and The Last Night of Madam Chin,the dramatized works with musical characteristics,and analyzes the emotional sup-port and topic metaphor of the music works in the film and television texts.Then the author deeply explores the epochal and historical nature of music production,and more widespread spiritual space and physical space,which goes beyond the emotional dilemma of"comparison between the present and the past"by"Tai-pei people".In this,the pursuit of love and home of the lower-class women on both sides of the Taiwan Strait,along with the distant echoes between individual destiny,national sentiment,and the imagination of family and country in the tide of the times,has presented that Taiwan filmmakers try to convey their understanding of"love","home",and"country"through music rhetoric since 1987,besides technology of light and shadow.This is also an important rhetorical aspect of musical language that transcends structure.
基金项目
浙江省哲学社会科学规划课题(24NDJC189YB)
NETL
NSTL
万方数据