【摘要】：“喬伊斯與電影”一直是現(xiàn)代主義研究中的重要話題。早在1928年,德國小說家阿爾弗雷德·德布林就已注意到《尤利西斯》中的蒙太奇特征。2010年出版的論文集《轉(zhuǎn)動卷軸世界：喬伊斯與電影》更是表明學(xué)界對此話題的學(xué)術(shù)興趣有增無減�？v觀80多年來的研究,不難發(fā)現(xiàn),過去主要采用了類比分析的方法,即把文學(xué)文本比擬成一部現(xiàn)代敘事電影,以此強(qiáng)調(diào)視覺敘事的藝術(shù)性和審美性。為此,傳統(tǒng)研究運用了喬伊斯創(chuàng)作之時尚未出現(xiàn)的電影美學(xué)術(shù)語或理論,如“蒙太奇”等。但這樣一來,便忽略了作家創(chuàng)作之時業(yè)已出現(xiàn)的早期電影形態(tài),及其對喬伊斯實驗創(chuàng)作帶來的實質(zhì)性影響。 鑒于此,本文擬從視覺技術(shù)和視覺呈現(xiàn)兩方面切入,系統(tǒng)考察喬伊斯創(chuàng)作之時的早期電影對其作品形式和主題等產(chǎn)生的影響。以攝影機(jī)鏡頭為核心元件的電影攝影技術(shù)促成了早期電影的誕生。作家從攝影機(jī)鏡頭的取景技術(shù)出發(fā),發(fā)展出了“攝影機(jī)眼睛”的新認(rèn)知視角。喬伊斯還意識到,發(fā)展演變中的早期電影,表現(xiàn)出了各自不同的視覺呈現(xiàn)形式。依據(jù)視覺呈現(xiàn)形式,可把早期電影具體化為以下類型：視鏡窺孔電影,非敘事的吸引力電影和早期敘事電影。這三種類型的電影各自表現(xiàn)出獨特的影視內(nèi)容與呈現(xiàn)視角,都對作家的文本敘述產(chǎn)生了重要影響。 正文共分5章,對以上內(nèi)容展開詳論。第一章追溯了早期電影的發(fā)展演變過程,及其與作家之間存在的實際影響關(guān)系。在喬伊斯時代,活動照相機(jī)和攝影技術(shù)相繼出現(xiàn),推動形成了初具規(guī)模的早期電影——視鏡窺孔電影。此后,早期電影在發(fā)展演變的過程中,其視覺呈現(xiàn)形式也發(fā)生了改變,視鏡窺孔電影逐漸被銀屏公映電影取代。后者的視覺呈現(xiàn)方式亦不盡相同,對此,又可細(xì)分為非敘事性的吸引力電影和敘事性電影。喬伊斯深度進(jìn)行影視傳媒實踐,尤其是他擔(dān)任沃爾特影院經(jīng)理的經(jīng)歷,使他對早期電影的視覺技術(shù)和視覺呈現(xiàn)有了深入的了解,也對盛行一時的早期影片了然于心。不足為奇,這樣的早期電影媒介,經(jīng)由作家的影視化想像,對作家的現(xiàn)代主義實驗寫作產(chǎn)生了影響。影視化想象是指早期電影的視覺技術(shù)和視覺呈現(xiàn)(包括影片內(nèi)容,視覺畫面和電影敘事),作用于作家的心智或想象,并通過作品文本的思想結(jié)構(gòu)和形式主題,以及作家的文化態(tài)度等體現(xiàn)出來。 第二章著重討論喬伊斯文本中的新認(rèn)知視角——“攝影機(jī)眼睛”。電影攝影機(jī)和活動照相術(shù)的發(fā)明是早期電影發(fā)展演變的核心視覺技術(shù),喬伊斯對此表現(xiàn)出極大的興趣和關(guān)注。攝影機(jī)鏡頭的光學(xué)聚焦和漸次取景,給人們帶來了新的視覺認(rèn)知方式。喬伊斯受此啟發(fā),讓筆下人物也通過“攝影機(jī)眼睛”觀察和認(rèn)知世界,他們認(rèn)知到的世界是不完整的,表現(xiàn)為一個有視覺障礙的、不連續(xù)和切面的視覺空間。本章的第一節(jié)首先考察現(xiàn)代實驗小說的具象化敘事,然后從喬伊斯的文學(xué)文本入手,闡明他對光學(xué)鏡頭和聚焦技術(shù)的熟悉程度。第二節(jié)進(jìn)一步論述到,作家代理人斯蒂芬在《斯蒂芬英雄》中首次提出“攝影機(jī)眼睛”的理論及其審美機(jī)制,斯蒂芬在《一個青年藝術(shù)家的畫像》中,則明確化為視覺美學(xué)理論�！皵z影機(jī)眼睛”的視覺美學(xué)理論,實則反映了小說人物在認(rèn)知外部世界時忽現(xiàn)的“精神頓悟”。本章的最后小節(jié),結(jié)合短篇小說“兩個紈绔子”,《尤利西斯》的第3章“普魯?shù)儆人埂焙偷?5章“瑟西”,以文本細(xì)讀的方式,深入探討小說人物通過“攝影機(jī)眼睛”認(rèn)知到了“無可避免的視覺認(rèn)知形態(tài)”。 第三章主要探討早期視鏡電影對喬伊斯實驗寫作形成的影響。作家筆下的人物運用視鏡電影的色情窺視原理,形成觀察都市生活的獨特視角,既真實地反映,又詼諧地諷刺了喬伊斯身在其中的都市欲望文明和現(xiàn)代視覺消費。第一節(jié)指出,單孔窺視形式的視鏡電影,以“舞裙秀腿”為展演內(nèi)容的色情影片著稱,這類電影充分地滿足了電影觀眾的窺視欲望,《尤利西斯》中的布魯姆正是當(dāng)時的一位窺視行家。第二節(jié)主要解讀《尤利西斯》的第5章“食落拓棗的人”,第8章“萊斯特呂恭人”和第11章“塞壬”等章節(jié)。通過文本細(xì)讀發(fā)現(xiàn),窺視行家布魯姆偷窺到充斥于都市空間的“舞裙秀腿”,如此一來,作家實現(xiàn)了對都市的欲望和性的戲仿式書寫。第三節(jié)著重分析《尤利西斯》的第13章“諾西卡”,研究發(fā)現(xiàn),整個部分都在敘述布魯姆與格蒂的看與被看,因而成為作家表現(xiàn)都市欲望和性的大手筆。 第四章論述早期吸引力電影對作家的奇幻敘述手法產(chǎn)生的影響。吸引力電影通過紀(jì)實或魔幻元素形成一種視覺奇觀或視覺沖擊,體現(xiàn)了早期電影制造視覺幻覺的“娛樂雜�！毙�。作家受此啟發(fā),也發(fā)展出亦真亦幻的奇幻敘述手法。第一節(jié)通過分析作家擔(dān)任影院經(jīng)理時選播吸引力電影的經(jīng)歷,指出他對吸引力電影的視覺奇觀,及其娛樂雜耍性具有充分的認(rèn)識。第二節(jié)則討論了《尤利西斯》第10章“流浪巖”的“雜�！憋L(fēng)格,作家在“流浪巖”中,巧妙運用早期吸引力電影的紀(jì)實或魔幻元素,形成匠心獨運的新奇敘述。第三節(jié)探討了梅里愛幻境電影對《尤利西斯》的魔幻變形敘述產(chǎn)生的作用。梅里愛運用技術(shù)主義語言創(chuàng)作出幻境電影,形成了以魔幻表現(xiàn)真實的藝術(shù)特色。喬伊斯借用梅里愛電影的魔幻元素和場景,使布魯姆的現(xiàn)代生活也變得亦真亦幻。本部分的最后,探討了《尤利西斯》(尤其是第15章“瑟西”)中的鬼魂敘述,這跟梅里愛電影對鬼的視覺呈現(xiàn)方式有著實質(zhì)聯(lián)系。 第五章論述早期敘事電影對喬伊斯實驗創(chuàng)作產(chǎn)生的影響。喬伊斯擔(dān)任影院經(jīng)理時特意選播了兩部電影：“比阿特麗斯·桑西”和“弗朗西斯卡·達(dá)·里米尼”,皆改編自歐洲歷史故事,表現(xiàn)的是流傳甚廣的家庭禁愛悲劇。在影視改編中,它們遵循了男性觀眾窺視銀屏世界,尤其是凝視銀屏女性的視覺呈現(xiàn)原理。由此,這兩部影片都從烏龜丈夫或男性受虐的視角,再現(xiàn)了原歷史故事中的婚戀背叛情節(jié)。它們從銀屏畫面和呈現(xiàn)視角兩方面,對《尤利西斯》的婚戀背叛主題,及其敘事視角產(chǎn)生了作用。第一節(jié)著重論述喬伊斯的自傳體散文集《賈科莫·喬伊斯》受到影片“比阿特麗斯·桑西”的直接影響。男性主人公賈科莫愛情受阻,只能通過窺視和視覺想象實現(xiàn)對女友的情愛表達(dá)。這部作品透過賈科莫的凝視視角勾勒出的女友形象,來自于比阿特麗斯的銀屏形象。第二、三小節(jié)論述到,《尤利西斯》的第7章“埃俄羅斯”和第11章“塞壬”,都從丈夫的視角再現(xiàn)了禁愛悲劇片“弗朗西斯卡·達(dá)·里米尼”的婚姻背叛場景。第7章的斯蒂芬扮演了烏龜丈夫的角色；而在第11章中,布魯姆則成為了遭受妻子背叛的烏龜丈夫。 論文結(jié)語指出,早期電影對喬伊斯創(chuàng)作產(chǎn)生的實質(zhì)性影響,反映的是現(xiàn)代主義作家的精英文化文本對大眾文化的吸納與對話。早期電影自誕生以來,就被認(rèn)為是迎合大眾低俗想象的雜耍節(jié)目,對高雅或精英文化構(gòu)成了威脅。對此,傳統(tǒng)的現(xiàn)代主義研究,通過高雅／低俗文化(或藝術(shù))的便利二分法,把經(jīng)典現(xiàn)代主義藝術(shù)與大眾文化嚴(yán)格對立開來。然而,本研究發(fā)現(xiàn),喬伊斯作為經(jīng)典現(xiàn)代主義作家的核心代表,表現(xiàn)出了包容和對話的大眾文化立場。他既看到早期電影的視覺技術(shù)對人的認(rèn)知能力的延伸,以及傳播歐洲文化的媒介能力。同時,他也看到了電影商演迎合大眾低俗想象的盈利驅(qū)動,表現(xiàn)出對那個時代的文化焦慮。
[Abstract]:"Joyce and the Movie" has always been an important topic in the study of modernism. As early as 1928, German novelist Alfred DeBrin had noticed the montage features in Ulysses. The publication of the 2010 anthology "Rotating Scroll World: Joyce and the Movie" shows that academic interest in this topic is growing. Over the past 80 years of research, it is not difficult to find that in the past, the main method of analogical analysis has been used, that is, to compare the literary text to a modern narrative film, in order to emphasize the artistry and aesthetics of visual narrative. In this way, however, the early film forms that had appeared at the time of the writer's creation were neglected, and their substantial impact on Joyce's experimental creation was neglected.
In view of this, this paper attempts to examine systematically the impact of Joyce's early films on the form and theme of his works from the perspectives of visual technology and visual presentation. Joyce also realized that early movies in their evolution exhibited different forms of visual presentation. According to the forms of visual presentation, early movies can be concretized into three types: peephole movies, non-narrative attraction movies and early narrative movies. Each film shows its own unique film and television content and presentation perspective, which have an important impact on the author's text narration.
The first chapter traces the evolution of early movies and their actual influence on the writers. In Joyce's time, movable cameras and photographic techniques emerged one after another, which promoted the formation of early movies of initial scale, namely, peephole movies. In the process of development and evolution, its visual presentation has changed, and the peephole film has gradually been replaced by the screen film. The latter is also different in the way of visual presentation, which can be subdivided into non-narrative attraction film and narrative film. Joyce carries on the film and television media practice in depth, especially as Walter. The cinema manager's experience has given him a thorough understanding of the visual technology and presentation of early movies, as well as the prevailing early movies. It is not surprising that such early media, through the author's visual imagination, had an impact on the writer's experimental writing of modernism. Visual technology and visual presentation (including film content, visual pictures and film narratives), which act on the writer's mind or imagination, are embodied through the ideological structure and form theme of the text, as well as the writer's cultural attitude.
Chapter Two focuses on the new cognitive perspective in Joyce's text, the "camera eye". The invention of cinematography and movable photography is the core visual technology in the early development of cinema. Joyce shows great interest and concern in it. The optical focusing and gradual viewing of the camera lens bring new vision to people. Inspired by this, Joyce allows his characters to observe and recognize the world through the "camera eye". Their perception of the world is incomplete, which is represented by a visual space with visual impairment, discontinuity and facets. The first section of this chapter first examines the representational narrative of modern experimental novels, and then from Joyce. The second section further elaborates that Stephen, the author's agent, first put forward the theory of "camera eyes" and its aesthetic mechanism in "Stephen Hero". Stephen, in "A Portrait of an Artist as a Young Man", explicitly translates it into the theory of visual aesthetics. The visual aesthetics theory of the camera eye actually reflects the "spiritual insight" of the characters in the novel when they perceive the external world. The last section of this chapter, combined with the short story "Two Witches", "Ulysses" Chapter 3 "Protius" and Chapter 15 "Thesey", probes into the characters in the novel by means of close reading. Through "camera eyes", we have realized "the inevitable form of visual cognition".
Chapter Three mainly discusses the influence of early visual-mirror films on Joyce's experimental writing. The characters in his works use the pornographic peeping principle of visual-mirror films to form a unique perspective to observe urban life, which not only reflects truly, but also satirizes Joyce's urban desire, civilization and modern visual consumption. Blum in Ulysses was a voyeur connoisseur at that time. Section 2 mainly interprets Chapter 5 of Ulysses, The Man Who Eats the Lost and Runs the Date, Chapter 8, Lai. Through close reading of the text, the author discovers that the expert Bloom peeps into the "dancing skirts and legs" of urban space, thus realizing the parody of urban desire and sex. This part is all about Bloom and Gerty's seeing and being seen, and thus becomes the writer's masterpiece in expressing urban desire and sexuality.
Chapter Four discusses the influence of early attractive films on the author's fantasy narrative. Attractive films form a visual spectacle or visual impact through documentary or magic elements, reflecting the "entertainment and juggling" nature of visual illusion produced by early films. The second section discusses the "juggling" style of "vagrant rock" in Chapter 10 of Ulysses. The writer uses the early attraction electricity ingeniously in "vagrant rock" The third section explores the effect of Merry's fantasy movies on the narrative of the magic transformation of Ulysses. Merry's use of technical language to create fantasy movies, forming an artistic feature of magic to represent reality. Joyce borrows the magic element of Merry's love movies. In the end of this section, the ghost narrative in Ulysses (especially in Chapter 15 "Thrace") is discussed, which is closely related to the visual presentation of ghosts in Merry's films.
Chapter Five discusses the impact of early narrative films on Joyce's experimental creation. Joyce, as a cinema manager, specially selected two films: "Beatrice Sancy" and "Francesca Da Rimini", both adapted from European historical stories and depicted the tragedy of a widespread family ban on love. They follow the visual presentation principle of male viewers peering into the world of the screen, especially at women on the screen. From the perspectives of tortoise husbands or masculine abuse, the two films reproduce the plot of betrayal in the original historical story. The first section focuses on Joyce's autobiographical prose collection, Giacomo Joyce, which is directly influenced by the film Beatrice Sancy. The male protagonist, Giacomo, is blocked in love and can only express his girlfriend's love through peep and visual imagination. The second and third sections of Ulysses describe the marriage betrayal scene in the tragic film Francesca Da Rimini from the husband's point of view. In Chapter 7 Stephen plays Ulysses. In the eleventh chapter, Bloom became a tortoise husband who was betrayed by his wife.
The conclusion of the thesis points out that the substantial influence of early movies on Joyce's creation reflects the absorption and dialogue of the elite cultural texts of modernist writers to popular culture. Modernism studies, through the convenience dichotomy of elegant/vulgar culture (or art), distinguish classical Modernist Art from popular culture. However, this study finds that Joyce, as the core representative of classical Modernist writers, shows an inclusive and dialogical position in popular culture. He sees the vision of early movies as well. The extension of technology to people's cognitive abilities, and the ability to spread European culture through the media. At the same time, he also saw the profit-driven film business to cater to the vulgar imagination of the public, showing cultural anxiety of that era.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2013
【分類號】：I562.074;J905

【參考文獻(xiàn)】

相關(guān)期刊論文 前2條

1 湯姆·岡寧;范倍;;吸引力電影:早期電影及其觀眾與先鋒派[J];電影藝術(shù);2009年02期

2 劉象愚;;喬伊斯與《尤利西斯》:從天書難解到批評界巨子[J];清華大學(xué)學(xué)報(哲學(xué)社會科學(xué)版);2006年05期

，

本文編號：2210468