摘要
《半个喜剧》汲取"佳构剧"的传统,以一波三折的情节结构和蕴含戏剧冲突的情境设计,呈现出古典喜剧之美。然而,掩藏在"半个"喜剧中那另外一半的社会现实问题,却在层层嵌套的"谎言"之中弥散。这则精巧的"谎言套盒"虽无法承载社会现实批判意识,但借由戏剧的"拐杖",类型片的叙事策略,成功满足了贺岁语境下观众的娱乐需求。
Following the genealogy of well-made play, Almost a Comedy(2019) presents a well-designed structure with comedic twists and dramatic conflicts. However, social symptoms under the disguise of comedy could be found in several layers of the narrative: the comedic function of cheating reduces the moral criticism;the self deception completes in the narrative system of Hollywood romance;the faults of the protagonists are embellished by outstanding performance. The article tries to argue that Almost a Comedy successfully satisfies the standard of popular entertainment by the narrative strategy of genre film in the context of new year, although this Russian doll consisted of perfect lies cannot stimulate the critical consciousness.
出处
《电影艺术》
CSSCI
北大核心
2020年第1期77-80,共4页
Film Art
基金
中国传媒大学中央高校基本科研业务专项资金资助.
关键词
佳构剧
喜剧情境
类型叙事
well-made play
comedy situation
genre narrative
作者简介
张净雨,中国传媒大学戏剧影视学院副教授,电影学博士,UCLA访问学者。
