卡里尔·菲利普斯小说中的电影元素
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作者苏娉 著
出版社清华大学出版社
ISBN9787302460497
出版时间2017-07
装帧平装
开本其他
定价78元
货号1201582072
上书时间2024-11-20
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目录
Preface i Acknowledgements iii List of Abbreviations v Chapter One Introduction 1
Chapter Two Novel and Film 23
Chapter Three Cinematic Visualization: Writing with a Camera Eye 57
I. Frequent Cross-references to the Cinema 58
II. Parallels of Different Camera Shots 70
III. The Significance of Different Shots 95
IV. The Significance of the Combination of Different Shots 103
Chapter Four Montage: Fragmentation and Discontinuity 111
I. Quick Sequences of Brief Images 113
II. Metaphorical Montages 120 III. Parallel Montages and Jump Cuts 130
IV. Flashback Montages 139 V Conclusion 145
Chapter Five Phillips’s Cinematic Use of Light, Color and Sound 147
I. Light 147
II. Color 176
III. Sound 195
Chapter Six Cinematic Imagination 225
Bibliography 235
内容摘要
本书从以下三个角度分析了卡里尔·斯小说中的电影元素和技巧：（一）作者如何将各种电影镜头转化为文字，实现一种视觉化叙事；（二）作者如何巧妙地将各种电影蒙太奇技巧运用到小说叙事中；（三）作者在小说中对光、色彩、声音的电影化运用。研究表明电影对斯小说的叙事技巧、风格、人物刻画、主题都产生了重要影响。
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本书从以下三个角度分析了卡里尔·斯小说中的电影元素和技巧：（一）作者如何将各种电影镜头转化为文字，实现一种视觉化叙事；（二）作者如何巧妙地将各种电影蒙太奇技巧运用到小说叙事中；（三）作者在小说中对光、色彩、声音的电影化运用。研究表明电影对斯小说的叙事技巧、风格、人物刻画、主题都产生了重要影响。
精彩内容
novel and therefore stimulates their innovations with the point of view in writing.46 For instance, Caryl Phillips, in his many novels such as The Nature of Blood and Dancing in the Dark, alternates frequently the first and third person narration.47 As for the second aspect, cinema has made considerable impact on the techniques of the novel with its spe ways of manipulating time such as flashbacks, flash forwards, slow motions, fast motions, and freeze frames.48 Phillips’s novels, experimenting with the narrative time by learning from the film, display a flexibility and non-conventionality in both time and space. Sound, since the arrival of sound film, has been an important source for conveying meanings and messages. The significance of sound in cinema has influenced the novel in its use of sound effects, which are particularly evident, for example, in Phillips’s Dancing in the Dark. Even the dialogues in Phillips’s novels are sometimes written in a way like the scenarios. And last, the editing process of cinema, i.e., the principle of composition by juxtaposition, has left an indelible mark on contemporary fiction as well.49 Phillips has also made technical innovations with juxtaposition, or rather, the method of montage, in his novels.
As the above discussion shows, the novel and film share many similarities which have led to a relationship of reciprocal inf luences, parallel evolution, convergences, transpositions and correspondences. Cinema which borrowed a considerable number of narrative strategies from the novel espely in its early stages has in turn exerted a profound influence on the writing techniques of the novel. The dynamic exchanges
46 Morrissette has explored the cinema’s relation with the experimentation with point of
view in the novel in his essay “Modes of ‘Point of View’.” 47 The alternation of different points of view is a common practice in movies.
48 Richardson, Cohen and Lothe have all addressed the impact of f ilm’s manipulation of time on fiction. For more details, see Richardson 87–89, Cohen 61–67, and Lothe 62–63. It is noticeable here that in a movie, each shot seems to be presented in the present tense: even in a flashback or flash forward, the events are seen to be unfolding in a here and now after the jump to the past or future is over. Some novelists, after absorbing filmic devices, show a tendency to use present tense and indicative mood.
49 Richardson argues that the editing of film, or montage, is “the aspect of film that has had the greatest impact on literature” (91).
between the two art forms work conversely to further strengthen their common features, making it logical that similar critical methods can be applied to them. Literary students and critics with a film consciousness will benefit from their familiarity with the film art, thus becoming more sensitive to the visual and aural aspects of the novel. So in the following chapters, I will read four major novels of Caryl Phillips in relation to cinematic techniques. This approach will not only give us new perspectives to appreciate and interpret the author’s fictional productions but also help us to uncover the underlying and subtle meanings of these texts which otherwise might be missed.
Chapter Three Cinematic Visualization:
Writing with a Camera Eye
Phillips’s novels display a visual quality which resembles the cinematic art. Visualization is a distinctive characteristic of his narrative style and writing technique. Like a film director who is sensitive to camera placement and movement, he uses verbal descriptions as the lens of a camera to capture specific moments of perception and create impressive scenes. The visual techniques he adopts are analogous to those of a filmmaker who puts objects and people into frames, brings them into mutual relations, composes and arranges the frames in a certain way. In other words, Phillips uses the power of description and a cinematic way of seeing to create literary equivalents of filmic devices such as various camera shots and angles, so as to produce in his novels a visualized world which is dramatic, intense and lively. He is a writer who wants to make his reader see. The closely observed details presented in his works, appealing to the reader’s visual memories, help to form in his/her imagination a vivid notion of the scenes, persons, objects and places in the narrative.
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