【摘要】：《歸來(lái)》作為張藝謀第二次改編嚴(yán)歌苓小說(shuō)的電影代表作,將原著小說(shuō)中大量的細(xì)節(jié)、心理、背景轉(zhuǎn)變?yōu)榇罅恳庀蟮倪\(yùn)用。其中,"門(mén)"的多次出現(xiàn),將電影的深刻性推進(jìn)了一層。將過(guò)去——現(xiàn)在——未來(lái)的時(shí)間及外界——家園——內(nèi)心的空間緊密整合,同時(shí)也將"門(mén)"的意象所帶有的家園思想、文化內(nèi)涵、對(duì)歷史的態(tài)度等表現(xiàn)了出來(lái),表現(xiàn)出陸焉識(shí)作為知識(shí)分子肉體歸來(lái)之外"魂兮歸來(lái)"的深刻主題。
[Abstract]:Return, as the film masterpiece of Zhang Yimou's second adaptation of Yan Geling's novel, transformed a large number of details, psychology and background into the use of a large number of images in the original novel. Among them, the emergence of "door" many times, the film of the profundity promoted a layer. This paper closely integrates the inner space of the past-the present-the future time and the outside world-home-at the same time, it also shows the home thought, cultural connotation and attitude towards history carried by the image of "door", and shows Lu Yanzhi as the profound theme of "soul return" in addition to the physical return of intellectuals.
【作者單位】： 黑龍江外國(guó)語(yǔ)學(xué)院;
【分類(lèi)號(hào)】：J905

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