雅克·塔蒂喜剧电影研究

【作者】 潘丽；

【导师】 钟大丰；

【作者基本信息】 北京电影学院 ， 电影学， 2005， 硕士

【摘要】 雅克·塔蒂是继麦克斯·林戴以来法国最优秀的喜剧大师。他不仅塑造一个喜剧原型人物——于洛先生,而且创立一种全新的喜剧类型——“有声时代的默片喜剧”。本文将结合塔蒂的五部电影长片为例,运用归纳、例证和比较等相结合的方法,结合相关电影理论和电影史,分析雅克·塔蒂及其喜剧电影的主题、人物、叙事策略和喜剧风格,对塔蒂喜剧电影做一次较全面的考察。同时考虑到他与美国默片喜剧和法国喜剧传统的继承与发展关系,做相关喜剧脉络上的梳理和比较。论文主要从三个方面进行论述:塔蒂喜剧的历史坐标、喜剧世界的内容与形式、喜剧修辞的建构与达成。 第一部分为塔蒂喜剧进行历史坐标定位,主要从作者和作品两条线索分别进行考察。作者的线索将通过对塔蒂生平的扫描来展示其艺术探索的道路,作品的线索将把塔蒂喜剧分别放置于法国喜剧传统和美国默片喜剧传统中寻找塔蒂与他们的继承和发展关系。其中法国喜剧传统中主要选择了克莱尔、林戴等人进行比较,而美国默片喜剧则考察了他与卓别林、基顿之间的关系。 第二部分具体进入塔蒂的影片,主要考察其电影主题、原型人物和叙事策略。塔蒂一贯关注工业文明与人性对立,城市建筑、交通问题都在其影片中屡屡出现。塔蒂通过对娱乐与工作关系的考察,通过松散的故事、作为主角的于洛的缺席等来制造间离效果。 第三部分是主要考察塔蒂关于声音元素的运用和影片的喜剧风格。塔蒂的声音观念是完全反常规的,他在影片中抹去对白的叙事功能,强化机械社会的噪音,并通过声画对位、声画结合制造各种的喜剧效果。在喜剧风格上,塔蒂坚持在自然界的真实规律下创建自己的喜剧世界,同时他采用了“喜剧平等”的策略,要求取消丑角的绝对明星地位,把噱头交给群众演员来完成。 本论文试图通过对塔蒂喜剧电影的艺术分析和风格总结,解析他在喜剧电影语言的发展上所做的实验与探索,从而寻找世界喜剧电影的发展规律。更多还原

【Abstract】 Jacques Tati is the most excellent comedy master in France since Max Linder. He has not only created a comedy archetype—Monsieur Hulot, but also established a whole-new genre of comedy—“Silent Comedy in the Sound Age”. This thesis takes Tati’s five films as examples to analyze Jacques Tati and his comedy, the subject, character ,narrative strategy and style etc, by the vehicle of concluding, exemplifying, and comparing, and under the background of film theory and film history. This thesis discusses the above from three aspects: the historical coordinate of Tati’s comedy; the content and form of his comedy world; construction of his comedy. Part one tries to orient Tati through film history, mainly starting from the aspect of the author and works. The author-looking part mainly is a coordination of his whole life and all his works. The work-looking part places him into two different comedy traditions: one is the French comedy tradition, the other is the American Silent comedy tradition. Amid the French tradition, it chooses René Clair, Max Linder to compare; while amid the American tradition, it presents Chaplin and Keaton to compare. Part two enters into Tati’s film world, mainly reviewing the subject, archetype character, and narrative strategy of his films. City architecture, traffic problems and the opposition between cultural civilization and human nature which repeatedly appear in his works are his persistent attention. Trough the paradox of amusement and work, loose structure, and the absence of the hero Hulot, Tati has created an effect of strangerlization. Part three examines his use of the elements of sounds and his comedy style. Tati’s concept of sound totally counters tradition. He erases the narrative function of dialogue, strengthens the noises from the mechanical society, and creates various comedy effects through the matching and combination of sound and picture. For comedy style, he establishes his own comedy world by insisting on the true law of the natural world. Meanwhile he takes the strategy as “comic democracy”, by demanding to abolish the absolute star status in film, while leaving the stunts to the figurants.更多还原