摘要
作为一种表意方式，电影符号文本折射出的，是主体的缺失。这个符号文本以缺席的符号形式呈现自身，将主体包裹于丰富的感知形式之中，依赖主体的欲望机制示意。它的叙述展开，以一个完全认同其话语的接受者为前提，使之在“看”这一行为中，完成符号文本的构建。然而，主体的符号性（即能意识到自我意识的元自我能力），使主体能认知自己为何心甘情愿成为被构建的主体，从而不停地生成阐释主体。所以，电影的意义永远在符号文本之外，游走于叙述主体、话语构建主体和阐释主体之间。本文根据皮尔斯的符号定义，分析电影符号的三分性——叙述主体、构建主体以及阐释主体，借此反思那个“自觉”缝合意识形态与电影话语缝隙的主体。
As a way of signification, film as a semiotic text is reflexive of the absence of subject. It is accessible on the condition that a receiver of text is available, who could fully identify with the discourse of the film, and thus contributes to the construction of the semiotic text. Subject as the semiotic self, however, is fully aware of its self-awareness, thus could recognize the way the self becomes a constructed subject, and in a further step, becomes an interpreting subject. Therefore, meanings of film seem to be constantly shifting back and forth between the narrative subject, the constructed subject and the interpreting subject. Based on Pericean semiotics, this paper tries to analyze the triadicity of the sign of film, which leads to a reflection on the subject of suture that would be ＂willing＂ to bridge the gap between ideology and film discourse.
出处
《英美文学研究论丛》
CSSCI
2017年第1期367-376,共10页
English and American Literary Studies
关键词
电影符号
叙述主体
构建主体
阐释主体
film-sign
the speaking subject
the constructed subject
theinterpreting subject
