Keywords: realism, animation, medium shots in long takes, emotion, thought

北京的世界公园缩建了来自世界各地的建筑瑰宝。游客可以一日之内环游世界而不必离开北京。《世界》讲述的是几个农村来的年轻人在世界公园里的工作与生活。女主角小桃是公园舞蹈团的演员，在和男友太生吵架后坐上了回世界公园的公交车。

为了更好刻画小桃漂泊无依的心境，贾樟柯将真实场景与动画结合起来，以呈现小桃与周围世界的微妙关系。该场景为连续拍摄，摄像头从左至右摇摄展现公交车上的陈设。车上的电视正在播放世界公园的广告（图1）。

To offer the viewer a more nuanced portrait of Tao’s unsettled mind, Jia combines live action with animation to project her delicate negotiation with the world around her. The scene begins as a continuous take, panning from right to left to index the objective conditions of time and space on public transportation. A TV screen is airing a commercial for the World Park (Figure 1).

图1：公交车上播放的世界公园广告

电视的背景音乐是贝多芬的《欢乐颂》，这台小电视让观众联想到电子设备支配着我们生活的方方面面，屏幕尺寸的大小也影响着我们对幻想和现实的感知。宏伟壮阔的世界公园在屏幕中显得单调乏味，毫无乐趣。运用长镜头跟摄，相机慢慢向左移动，捕捉到小桃沉思着望向窗外的轮廓（图2）。

With Beethoven’s "Ode to Joy" blaring in the ad, the small TV reminds the audience of how electronic devices dominate every facet of our existence and how different screen sizes scale our perceptions of fantasy and reality. Despite its promised grandiosity, the monitor presents a diminished view of the Park that seems more mind-numbing than entertaining. With a long tracking shot, Jia’s camera slowly moves to the left to capture the profile of a pensive Tao looking out of the window (Figure 2).

图2：心情沉重的小桃(侧影)

这里的中景镜头给了观众足够的感受空间，忧郁的风和漆黑的夜加深了小桃的屈辱感。当镜头连续拍摄时，路边的围栏和天安门城楼上的肖像让观众更加关注到现实。尽管观众看不到小桃脸上的表情，但她肢体语言表明她对自己摇摇欲坠的现状感到厌倦。公交车的行驶路线就像公园内的观光车，她每天都要往返两地通勤。因此，小桃根本没有“去处”。接着她收到了太生发来的信息，她的手机屏幕亮了起来，上面写着：“看你往哪儿跑？”（图3）。

The mid-shot reveals a brooding figure, giving the audience just enough room to feel how the melancholic wind and the darkening night deepen her sense of humiliation. As Jia’s camera takes the audience for a ride in a continuous shot, the fence and Mao’s portrait in Tiananmen Square sharpen our focus on enclosure and surveillance. Even though Tao’s face is largely hidden from the viewer’s scrutiny, her dejected body language suggests that she is weary of her own precarity. The bus is driven on a circular route similar to the tourist train in the Park that Tao takes every day to commute between sites. Hence her aspiration for "going places"leads to nowhere, because her destination and departure are one and the same. As her world continues to stagnate, a message from Taisheng lights up her cellphone screen: “How far can you go?” (Figure 3).

图3：短信的动画图像

这是影片中第一次将实景转化为动画。这种卡通化的图像，虽然是虚拟的，却包含着真实的威胁的含义。太生的真正意思是“让我们看看你还能去哪儿”。太生是公园保安队的负责人，他可以使用所有的追踪工具来监视小桃。这里的动画看起来似乎怪诞离奇，却与小桃的现实困境相呼应。如果中景镜头中的实景表现小桃的坚忍与神秘，那么动画则将她的思想从时间，空间和逻辑的约束中解放出来，充分地展现了她的想象……

This is the first time that Jia turns live action into animation. This cartoonish image, however virtual, contains a real threat. “Let’s see where you can go!” is a more literal translation of Taisheng’s message. As the head of the Park’s security team, he has access to all the stalking tools to spy on Tao. As surreal as it seems, the animation makes Tao’s real-life predicament appear all the more tangible and relatable. If a realistic representation in the medium shot shows Tao’s stoicism, keeping everything to herself, the use of animation frees her thought from the constraints of time, space, and logic, revealing more fully what she imagines.

想要了解作者对于贾樟柯导演电影《世界》中的镜头语言与美学表达的更多解读，

请点击下方链接直达 Realism and Fantasy in Jia Zhangke’s The World

https://www.degruyter.com/document/doi/10.1515/jcfs-2021-0008/html

本文为"开放获取"，让知识传播得更远。

蔡秀妆

（Hsiu-Chuang Deppman）

蔡秀妆，美国欧柏林学院电影学教授，研究领域包括电影史、电影改编、纪录片、媒体研究、比较文学和现代中国小说。著有《银幕改编：中国现代小说和电影中的文化政治》（夏威夷大学出版社，2010）和《中国现代电影中的特写和长镜头》（夏威夷大学出版社，2021），还发表了多篇叙事理论和亚洲流行文化与文学的学术论文。目前她正在撰写一本关于贾樟柯电影影像的新书。

Hsiu-Chuang Deppman is Professor of Chinese and Cinema Studies at Oberlin College. Her research interests include history of cinema, film adaptation, documentary, media studies, comparative literature, and modern Chinese fiction. Author of Adapted for the Screen: The Cultural Politics of Modern Chinese Fiction and Film (University of Hawai’i Press, 2010) and Close-ups and Long Shots in Modern Chinese Cinemas (University of Hawai’i Press, 2021), she has also published on narrative theory and Asian popular culture and literature in refereed journals and edited volumes. She is currently writing a new book on Jia Zhangke’s cinema of reflection.

《中国电影研究》

Journal of Chinese Film Studies立足中国，面向国际，旨在搭建一流国际学术平台，发表国内外高水平的中国电影研究成果，加强不同文化背景的研究者之间的对话和沟通，促进国内外电影研究界开展交流与合作，推动中国电影研究的全球发展。想与国内外知名学者一起探讨中国电影吗？赶快行动投稿吧！

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来源：中国电影研究

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