电影《杀生》的叙事艺术

The Narrative Art of the Film “Kill”

摘要: 电影《杀生》作为导演管虎的实验性力作，以其突破传统的叙事策略在国产电影领域展现了独特的风格。本文从叙事结构、叙述者机制、色彩叙事语言三个维度，系统剖析《杀生》的叙事艺术特色。影片通过倒错时序的多组合段编排、“外层全知–内层有限”的多重视角，以及土褐色调与黑白符号的视觉叙事，构建了一个充满悬疑与隐喻的叙事空间，对传统意识形态与集体心理提出了有力的批判，为国产电影叙事创新提供了重要范式。

Abstract: As an experimental masterpiece by director Guan Hu, the film “Kill” stands out in Chinese cinema with its unconventional narrative strategies and distinctive style. This article systematically analyzes the narrative artistry of “Kill” through three dimensions: narrative structure, narrator mechanisms, and color-based storytelling. By employing a complex arrangement of reversed temporal sequences, multiple perspectives characterized by an “omniscient outer layer and limited inner layer,” and visual storytelling through earthy brown tones and black-and-white symbolism, the film constructs a suspenseful and metaphor-rich narrative space. It offers a powerful critique of traditional ideologies and collective psychology, providing a significant model for innovation in Chinese cinematic storytelling.