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张艾嘉导演的文艺片《念念》通过现实、回忆与幻象之间的交错,讲述了三个幼年时因亲情缺失而产生隔阂、阴影、迷茫的年轻人,在寻找答案中与心中劫念和解。育美,一个情绪偏执的画家;育男,亲和实则自卑的导游;阿翔,渴望有所成就却失败的拳击选手。在碎片式镜头表达、缓慢的节奏、温暖色调等影像叙述中,三个主人公在寻觅中,突破本我的心灵困顿,完成自我和解、自我救赎,获得超我的成长。本文运用弗洛伊德的人格心理结构理论,分析片中三个主要人物形象的塑造及发展,探究张艾嘉这一女性导演的影像风格,及其电影表达的丰富内涵。
Through the interplay of reality, memories and illusions, the literary film “Remembrance” directed by Zhang Aijia tells the story of the young people who were estranged, shadowy and confused by their lack of affection when they were young, and reconciled with their hearts in the search for answers. Yuk Mei, an emotionally paranoid painter; Yukon, pro and actually a low self-esteem tour guide; A Xiang, longing for success but failed boxer. In the fragments of lens expression, slow rhythm, warm hue and other video narration, the three protagonists in the search, breaking my spiritual sleepy, complete self-reconciliation, self-salvation, super-growth. This article uses Freud’s theory of personality and psychic structure to analyze the shaping and development of the three main characters in the film and explores the image style of Zhang Aijia, a female director, and the rich connotation of the film expression.