摘要
新奇幻剧的最大特征在于其所设置的“作者(author)”角色与主角共处于平等的场域,其所书写的固定、封闭的先前文本与主角所创造的动态、开放的文本交织互文,代表作如《童话镇》和《W两个世界》等。以热奈特的叙事学概念和查特曼的影视叙事理论为工具、以作者为切入点,研究此类剧如何通过颠倒故事与嫁接话语实现叙事的解构主义,继而形成影视与童话、漫画、剧本等体裁的互文美学。隐喻作者之死的新奇幻剧为后现代主义影视创作提供了另一种可能。
The most important feature of new fantasy drama is that the″author″role and the protagonists are in the same field.The fixed and closed previous text written by the author interweaves with the dynamic and open text created by the protagonist,such as Once Upon A Time and W-Two Worlds.Based on Genette′s concept of narratology and Chatman′s film and television narrative theory,this paper takes the author as the starting point to study how this kind of drama achieves narrative deconstruction by reversing the story and grafting discourse,and then forms the aesthetics of intertextuality between film and television,fairy tales,comics,scripts or other genres.The new fantasy drama metaphorizing the death of the author provides another possibility for post-modernism film and television creation.
作者
田秋生
王琴
TIAN Qiusheng;WANG Qin(School of Journalism and Communication,Guangzhou University,Guangzhou,Guangdong 510006,China)
出处
《广州大学学报（社会科学版）》
CSSCI
2021年第2期94-100,共7页
Journal of Guangzhou University:Social Science Edition
基金
国家社会科学基金重大招标项目(19ZDA269)。
关键词
影视叙事
奇幻剧
解构主义
互文性
美学
film and television narrative
fantasy drama
deconstruction
intertextuality
aesthetics
