《建党伟业》 “辫子”意象之内蕴与叙事功能探析
DOI:
CSTR:
作者:
作者单位:

作者简介:

通讯作者:

中图分类号:

基金项目:


On the Connotation and Narrative Function of the “Braid” Image in the Film Beginning of the Great Revival
Author:
Affiliation:

Fund Project:

  • 摘要
  • |
  • 图/表
  • |
  • 访问统计
  • |
  • 参考文献
  • |
  • 相似文献
  • |
  • 引证文献
  • |
  • 资源附件
  • |
  • 文章评论
    摘要:

    电影《建党伟业》中有不少与辫子有关的情节与意象,这些情节与意象从1911年毛泽东理发延续到1920年辜鸿铭离开北大,贯通于《建党伟业》所叙历史。《建党伟业》中的“辫子”意象既是满清兴亡的标志,也是新旧体制与文化更替之象征。《建党伟业》中的“辫子”意象在材料取舍、线索拟建、人物塑造等方面发挥了重要作用,制作者们运用特定的影像技术,让“辫子”意象与其它类似的意象一起来实现既定的叙事目标。对这样的意象进行深入的分析,有助于理解电影中的人物、事件与电影创作的原初意旨,也提醒观众对待传统与历史应有相对宽松与辩证的态度。

    Abstract:

    There are many plots and images related to braids in the film Beginning of the Great Revival, which ran through the history described in the film from Mao Zedong’s haircut in 1911 to Gu Hongming’s departure from Peking University in 1920. The“braid”image in Beginning of the Great Revival is not only a symbol of the rise and fall of Qing Dynasty, but also a symbol of the replacement of old and new systems and cultures. The“braid”image in Beginning of the Great Revival played an important role in material selection, clue construction, characterization and so on. The producers use specific imaging technology to make“braid”image and other similar images achieve the set narrative goal. An in-depth analysis of such images is helpful to understand the characters, events and the original intention of film creation, and also reminds the audience that they should have a relatively loose and dialectical attitude towards tradition and history.

    参考文献
    相似文献
    引证文献
引用本文

刘伟生,胡若渲.《建党伟业》 “辫子”意象之内蕴与叙事功能探析[J].《湖南工业大学学报(社会科学版)》,2020,25(5):63-71.

复制
分享
文章指标
  • 点击次数:
  • 下载次数:
  • HTML阅读次数:
  • 引用次数:
历史
  • 收稿日期:2020-08-20
  • 最后修改日期:
  • 录用日期:
  • 在线发布日期: 2020-11-17
  • 出版日期:
文章二维码