李安电影的叙事手法研究

　　摘 要

　　多重文化背景形成了李安电影叙事的显着特点，叙事背景的冲突与融合，让李安试图通过电影进行自我身份的确认，这种确认也是对自我存在、自我文化存在的认同。这种自我认同的结果便是：李安电影是孔子、海德格尔、李安的精神邂逅。李安深层次的东方文化皈依与西方文化的切身体验，让李安的众多作品都表现了文化冲突对人的存在的影响，其中，东西文化的对话与冲突是影片表现的主要对象，而这种对话与冲突是李安身处文化“拉扯”中的自我认定过程。李安在影片的自我认定就是人性的本真--情感、爱、性、存在等人类永恒的主体。

　　电影作为叙事艺术的一种，不同于生活叙事，也不同与文学叙事，它有它独特的叙事手法，它更多的是通过镜头和影响来表现的虚构叙事。李安作为东西文化“拉扯”中的导演，他有着自己独特的叙事特点：叙事戏剧性的坚守，生存叙事的把握，入世与含蓄的叙事口吻，这些叙事特点成就了李安的电影成就。同时，电影的叙事，尤其是电影艺术家的一系列影视叙事都会有一定的叙述主题，这些叙事主题是故事、情节与叙述的模式和典型，它们直接影响对艺术家整个作品体系的理解。李安的电影以独特的中西文化叙事视角，表现出了中西家庭文化、情爱伦理观念等方面的差异和交融。李安就是这样一个隐性叙事者，他通过他的叙事特点，让听故事的人感受生命的存在，提升自己的生存状态，当然这种提升有时是伴随着痛苦的反思和绝望的过程。

　　电影的叙事手法是依据叙事学和符号学的有关理论对影片的结构和元素进行分析的理论，电影通过什么手段来安排情节，完成行动动机，塑造人物性格以及构建影片的什么特征是电影叙事手段的关注要点。李安的叙事手法在叙事空间、叙事时间、音乐叙事以及电影剪辑等方面具有显着特点，这也是成就李安世界知名导演的技术要素。

　　关键词：李安，电影，叙事学，叙事视角，叙事主题，叙事手段

　　ABSTRACT

　　Multiple cultures formed the distinctive features of Ang lee's film narrative,narrative background of conflict and fusion, let Ang lee tried to through themovie identity confirmation, this confirmation and identification of the existenceof culture, exist. The result of self-identity is: ang lee's film is Confucius,heidegger, Ang lee's spirit encounters. Ang lee deep Oriental culture conversionand the experience of western culture, let Ang lee's numerous works are affectedby the cultural conflict of human existence, among them, the east-west culturaldialogue and conflict is the main object of the film, and this kind of dialogue andin the cultural conflict is Ang lee “pull” process of ego identity. Ang lee's film ofego identity is the authenticity of human nature, emotion, love, sex, is the humaneternal subject.

　　Movie as a kind of narrative art, different from the life narrative, alsodifferent with literary narrative, it has its unique narrative technique, it is morethrough the lens and influence to the performance of the fictional narrative. Anglee as director of the “pull” what culture, he has its own unique narrativecharacteristics: dramatic narrative stand, the assurance of survival narrative, wtoand the implicit narrative tone, these narrative features achievement on ang lee'smovies. At the same time, the film's narrative, especially a series of filmnarrative film artist will have certain narrative theme, the narrative theme is thestory, plot and narrative mode and typical, which directly affect theunderstanding of the artist the entire work system. Ang lee's film with a uniquenarrative perspective of Chinese and western culture, show the Chinese andwestern family culture, sexual ethics, etc, the difference and blending. Ang lee isa recessive storyteller, he through his narrative features, to listen to stories ofpeople feel the existence of life, improve their living condition, the ascension, ofcourse, sometimes is accompanied by painful process of reflection and despair.

　　Film narrative is based on the Angle and the related theory of semiotics offilm theory, an analysis of the structure and elements of the film by what meansto arrange the plot, to complete the action motivation, shape character and buildwhat characteristics of the film is the focus point of film narrative methods. Anglee's narrative in the narrative space, narrative time, music and movie clips andso on has the remarkable characteristics, that is also the achievements in anglee's famous director technology elements. Survival, of course, this promotion issometimes accompanied by painful process of reflection and despair.

　　KEYWORDS:Ang lee's,Film,Narrative,Narrative perspective,Narrativetheme,Narrative means
 

　　目 录

　　摘 要……I

　　ABSTRACT……III

　　目 录……I

　　第一章 绪论……1

　　1.1 选题缘由……1

　　1.2 研究现状……1

　　1.3 论文创新……2

　　1.4 课题的研究方法……3

　　第二章 李安电影叙事的多元文化视角……5

　　2.1 李安的多重文化背景……5

　　2.1.1 东方叙事视角--传统文化的精神皈依……5

　　2.1.2 西方叙事视角--西方文化的影像思维……9

　　2.2 李安电影叙事视角的自我认定……11

　　2.2.1 东西文化对话中的影视探索与解读……12

　　2.2.2 影片自我经历的投射--文化他者……13

　　2.2.3 文化夹心中导演的自我修养……15

　　第三章 李安电影的多种叙事特点及主题……17

　　3.1 电影的叙事性……17

　　3.1.1 电影是一门叙事艺术……17

　　3.1.2 电影叙事的特殊性（镜头叙事与戏剧等）……18

　　3.1.3 电影叙事与电影叙事学……19

　　3.2 李安电影的叙事特点……20

　　3.2.1 叙事戏剧性的坚守……21

　　3.2.2 生存叙事的精神关注……22

　　3.2.3 入世与含蓄的叙事口吻……23

　　3.3 李安电影的叙事意象与原型……25

　　3.3.1 家庭意象与文学隐形书写……25

　　3.3.2 父亲意象与父权解构……27

　　3.3.3 爱、性意象与理智、情感……29

　　第四章 李安电影的多样叙事手法……33

　　4.1 叙事空间……33

　　4.1.1 叙事空间概念和理论……33

　　4.1.2 叙事空间的特点……34

　　4.1.3 叙事空间的组成--画面与声音……36

　　4.2 叙事时间……38

　　4.2.1 叙事时间概念和理论……38

　　4.2.2 叙事时间的形态……41

　　4.3 音乐叙事……42

　　4.3.1 电影音乐的叙事功用……42

　　4.3.2 李安电影的音乐叙事审美……43

　　第五章 结语……45

　　参考文献……47

　　致谢……51