电影《桃姐》的叙事分析

Narrative Analysis of the Film: A Simple Life

摘要: 本文结合巴尔特的文学叙事理论，和克•麦茨“独立语义段”的电影叙事结构理论，从人物塑造、叙事结构和叙事视点三个角度对现实主义影片代表作——《桃姐》进行叙事分析。该片通过一系列行动序列，塑造出勤俭活泼而具有反叛精神的住家女仆桃姐，兼具现代精英色彩和有情有义的传统人格的少爷罗杰，这两个有血有肉的荧幕形象。影片在叙事结构上以桃姐和罗杰的主仆关系为主线，以桃姐和坚叔的情感关系为辅线，纵向推动故事情节发展。并穿插大量插曲式段落，横向展现人物所处的时代背景。通过叙事视角的巧妙选择，叙事焦点的不停变换，完成第一人称叙述和第三人称叙述的巧妙转换，一方面成就了影片的纪实风格，另一方面使观众直抵人物内心。诸多叙事手法和技巧共同作用，促成了桃姐朴实无华却感人至深的叙事效果。

Abstract: Combining Barthes’ literary narrative theory with C. Meiz’s film narrative structural theory, this article analyzed the film A Simple Life from three angles, characterization, narrative structural and narrative viewpoint which was the representative of Chinese realistic movies. In the movie, A Simple Life, the director molded two characters, the servant Miss Peach and the Master Roger, who were both full of personality. Miss Peach was thrifty, outgoing as well as rebellious. Roger was molded as both business elite in modern society and thoughtful master who was full of humanistic care complied with the Chinese traditional ideal personality. It should be noted that there were two narrative clues in the film. The first one is family affection between Miss Peach and her Master Roger, and the other one was the dubious relationship between Miss Peach and Sir Stiff. Those two clues working together prompted the development of the story. Also, massive episodes inserted into the body of the story vividly reflected the historical background. It should also be noted that through constant alternations of narrative viewpoints, the director smoothly shifted between first person and third person. This technique not only strengthened the film’s realism style, but also enhanced the communication between audience and characters. All those narrative skills made contribution to the movie’s paradox and unique effects—unadorned while touching.