首页|在死亡与野蛮之间:《最后的尼安德特人》与"人"的审美重构

在死亡与野蛮之间:《最后的尼安德特人》与"人"的审美重构

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法国电影《最后的尼安德特人》通过对尼安德特人消失之谜的探寻和审美重构,拷问现代人的处境.在一个以疫病、死亡与野蛮为象征化情境,以离乡—返乡、死亡—重生为基本叙事框架的故事中,讲述了男女主人公的行动和抉择,促使"现代人"(尤其是"西方人",以及广义上的人类)返本还源,回到他们的故乡——尼安德特人曾经生活过的地方.跟随他们迁徙的脚步重新思考这样一个主题:人何以为人?影片在结构和主题上可以看作是对俄耳甫斯神话、《圣经》故事、柏拉图"洞喻"以及莎士比亚《哈姆雷特》的戏拟,当影片最终完成了对尼安德特人命运的美学拯救,它留给现代观众的,是对人之为人的无尽思考.
Between Death and Barbarism:Ao,le dernier Néandertal and the Aesthetic Reconstruction of"Humanity"
The French film The Last Neanderthal explores and aesthetically reconstructs the mystery of Neanderthal disappearance,questioning the plight of modern people.In a story that symbolizes plague,death,and barbarism,with death rebirth,leaving home,and returning home as the basic narrative framework,the film tells the actions and choices of the male and female protagonists,prompting"modern people"(especially"Westerners"and,in a broader sense,humans)to return to their hometowns-the places where the Neanderthals once lived,and to rethink this theme in the footsteps of their migration:why are humans human beings?The film can be seen as a parody of Orpheus mythology,biblical stories,Plato's metaphor,and Hamlet in terms of structure and theme.When the film ultimately completes the aesthetic salvation of the fate of the Neanderthals,it leaves modern audiences with endless contemplation of human nature.

Ao,le dernier Néandertalaesthetic reconstructionOrpheusHamlet

李光柱

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东华理工大学文法与艺术学院(南昌 330000)

《最后的尼安德特人》 审美重构 俄耳甫斯 哈姆雷特

2024

浙江艺术职业学院学报
浙江艺术职业学院

浙江艺术职业学院学报

影响因子:0.195
ISSN:1672-2795
年,卷(期):2024.22(4)