摘要
文章从热奈特叙事聚焦三分法出发,研究电影《奇幻人生》采用的三种聚焦特征,剖析其叙事机制的独特之处。首先是零度聚焦以全知全能的视角描写了悲剧作家凯伦·埃菲尔努力摆脱写作障碍的历程,作家的这一历程又与内聚焦下小说主人公的心路历程相互关联,二者不断产生人格上的照应,也与作家小说的主题相契合;外聚焦视角下哈罗德与安娜·帕斯卡的感情线则极大地增强了影片的真实性。三种聚焦模式的交叉融合令影片充满感召力和轻喜剧效果,不断吸引着观众的注意力。
Based on the narrative focalization of Gennett's three-division method,this paper studies the three types of focalization characteristics used in the movie Stranger than Fiction,and analyzes the uniqueness of its narrative mechanism.First,Zero focalization describes the tragic writer Karen Eiffel’s efforts to get rid of writing obstacles from the perspective of omnipotence.The writer's journey is interrelated with the protagonist's mental journey under the inner focalization,which constantly produces the personality concern fitted with the theme of the writer's novel.The emotional line between Harold and Anna Pascal greatly enhances the authenticity from the external focalization.The cross integration of the three focalization modes makes the movie full of appeal and light comedy effect,which constantly attracts the attention of the audience.
作者
尹宁洁
陈亚杰
YIN Ning-jie;CHEN Ya-jie(School of Foreign Languages,Inner Mongolia University of Technology,Hohhot,Inner Mongolia,010080)
出处
《徐州工程学院学报（社会科学版）》
2021年第3期95-101,共7页
Journal of Xuzhou Institute of Technology：Social Sciences Edition
基金
内蒙古工业大学研究生教学改革项目“英语语言文学专业《叙事学》课程内容体系优化和教学模式改革研究”(YJG2018016)。
关键词
《奇幻人生》
零度聚焦
内聚焦
外聚焦
Stranger than Fiction
zero focalization
internal focalization
external focalization
