当代华语电影“镜子”意象研究.pdf

摘 要 电影从发展之初，便是以 “自然物象为主导”，以复原现实世界原貌为 其创作的出发点和落脚点。但毕竟不是对于客观自然被摄对象的照搬，而 是经过创作者不同程度的主观创造，在诉诸于视觉和听觉感受的同时，也 会通过具有象征性的意象书写来给人以感性思考和理性安慰。 当 “镜子”作为一种重要意象出现在电影中时，除了在日常生活中承担 照容器物的功能之外，也会从其中窥见剧中人物情感、欲望和行为而具有 了 “寄寓性”。此时，“镜子”已经超脱于本身所赋有实际价值而具有了情 感价值，甚至哲学价值，即成为 “人的本质力量对象化”的银幕显现，一种 更富诗意、更具情感化的意象表达。 当以中国传统美学、精神分析学相关理论成果为语境，去分析 “镜子” 这一意象在华语电影中的种种表现与功能时，便显现出其独特的意味来： 以弗洛伊德、拉康为代表的精神分析理论赋予 “镜子”所蕴含的 “心象” （即思索之象、记忆之象、梦幻之象），而中国传统美学、诗学所带来的是 风格上的写意与诗意。在对 “镜子”意象进行不同层面的分析与解构之后， 希望能对其审美意义进行较为全面的探究，并且希望通过探讨，能激发创 作者对于意象的多重表达，唤醒观众的审美意识，从而进一步丰富意象相 关理论的发展和研究。 关键词：镜子意象；拉康镜像理论；诗意；自我认同；他者窥视 I Abstract From the beginning of its development, the film is dominated by natural images,which can restorethe original appearance ofthematerialreality.However, it is not a copy of the objective natural subjects, but a subjective creation of different degrees by the creators, which will give people emotional thinking and rational comfortthrough symbolicimagewriting. When the mirror appears in the movie as an important image, it will not only take on the function of looking at the container in daily life,but also see the emotion, desire and behavior of the characters in the movie. At this time, mirror has been detached from its own practical value and has emotional value, even philosophical value. It has become a product of objectification of human essential power, an emotionalpoeticimage. When analyzing the various manifestations and functions of the image of mirror in Chinese movies in the context of the relevant theoretical achievements of Chinese traditional aesthetics and psychoanalysis, it shows its unique meaning: psychoanalytic theories represented by Freud and Lacan endow mental image (i.e. the image of thinking, memory and dream) contained in mirror, while Chinese traditional aesthetics and poeticsbring about freehand b