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代写英文:电影《隐藏》的叙事主题与结构

《隐藏》是一部法国心理惊悚片,由迈克尔·哈内克编剧和导演,2005年上映。在电影《隐藏》(Cache)中,存在着一连串的叙事结构和更深层次的意义。根据Brunnette(2010)的说法,Haneke因为他的哲学电影评价和分析了西方社会的功能失调状态而被认可。在《隐藏》中,导演强调了创伤、权力、罪恶感和记忆的残酷一面,因为它与1961年巴黎大屠杀的一些痛苦记忆相互作用。隐藏(缓存)的核心主题是基于集体和个人层面的负罪感创建的。它主要建立在一个国家的罪恶感上(Cousins, 2007)。电影的结构是这样的,很少有叙事的故事,相比之下,潜在的叙事的主角。本研究探讨隐藏(快取)是如何建构观看行为的,并描述其对叙事主题和结构的重要性。

哈内克的镜头着重于这对被迫分开的夫妇,而不是磁带和他们的图画的来源。因此,每当我们在影片中发现令人不安的颈部图像和血口图像时,并不表示马吉德发送了这些图像。这是由于马吉德角色的精彩刻画(刘易斯,1996)。然而,有几个重要的问题没有得到回答,而且观众一直把它们作为一个问题来问。他们思考着这样一个事实:谁是那个一直在重新发送录像带的人。一种可能的解释是,乔治自己一直在无意识地发送那些磁带,因为这让他能够处理他一直面临的负罪感。然而,还有其他重要的解释。一个重要的问题是,为什么乔治要始终如一地处理被压抑的负罪感?正如之前所断言的,马吉德一直在把录音带寄给乔治,因为这将迫使他呆在一个角落里,在那里他别无选择,只能承认自己的罪行(麦考马克,2011)。这主要是由于乔治一直在说谎,镇压他人,特别是如果一个阿尔及利亚人已经结束了资产阶级的生活。导演完美地描绘了西方世界的罪恶,在过去的几年里,中产阶级一直在进步,但被压制的人却一直被抛在后面。在一个高度全球化的世界里,这当然显得非常重要,因为各国往往有来自不同背景和文化的人生活在一起。

哈内克使用的广角镜头最终引导观众进入一种空白的意识水平(Grossvogel, 2007)。他将电影的剧本描述成这样一种方式,即允许观众根据电影中正在发生的事件创造自己的形象。Haneke讲故事的方式有可能成功地操纵和欺骗潜在的观众(Lewis, 1996)。然而,这种讲故事的方式也可以被认为是一个创新的艺术形式或一个新的框架有关工程的观念,让观众体验行动所在,因为他们会考虑在提取解释》的部署,围绕着电影的框架内。Haneke的广角镜头无疑具有独特的叙事风格,提供了独特的电影体验,解构了传统的叙事(Radstone, 2010)。观众可以通过积极参与的方式对电影有自己的理解,而不需要简单地沦为被动。从电影的开始到结尾,每一帧都吸引着潜在的观众,他们共同探索着一个谜团。

代写英文:电影《隐藏》的叙事主题与结构

Hidden [Cache] is a French psychological thriller that has been written and directed by Michael Haneke and released in 2005. Throughout the film Hidden (Cache), there exist a barrage of narrative structures and deeper meanings. According to Brunnette (2010), Haneke has been recognized for his philosophical movies that evaluate and analyse the western society’s dysfunctional state. Within Hidden (Cache), the director emphasizes upon the gruelling side of trauma, power, guilt and memory as it interacts with some bitter memories of Paris 1961 Massacre. The core theme of the Hidden (Cache) is created on guilt on a collective and personal level. It is mainly built on guilt of a nation (Cousins, 2007). The film has been structured in such a manner that there are very few narratives of the story when compared with the potential narrative of the protagonist. This study discusses how Hidden (Cache) has constructed the act of looking and portrays its importance for the narrative theme and structure.
Haneke’s camera emphasizes on the couple that has been forced apart and not mainly on the origins of tapes and their drawings. Due to this reason, whenever we discover disturbing images of neck images and bloody mouth within the film, it does not indicate that Majid has sent those images. It is due to the brilliant portrayal of Majid’s character (Lewis, 1996). However, there are a few important questions that are unanswered and they have been consistently asked by the audience as a query. They ponder upon the fact that who is the individual that has been sending the tape all over again. One possible explanation could be that George has been himself sending those tapes unconsciously as it allows him to deal with the guilt that he has been consistently facing. However, there would be other important interpretations as well. One important question is that why Georges has to consistently deal with the level of repressed guilt? As it was asserted before, Majid had been sending the tape to George as it would force him to stay across a corner where he would have no other choice but to confess his guilt (Mccormack, 2011). It is mainly due to the lies George has been telling for suppressing others, specifically if an Algerian had ended up living a life of Bourgeois. Director has beautifully portrayed the guilt of the western world where the middle class has consistently progressed over the last few years but the suppressed have been constantly left behind. Within a world that has been highly globalized, it would certainly seem highly relevant as nations do tend to have people from different backgrounds and culture that live together.
The wide shots used by Haneke’s eventually lead the viewers towards a level of blank consciousness (Grossvogel, 2007). He has depicted the screenplay of the film in such a manner that it would allow the viewers to create their own image regarding the ongoing events within the film. It is a possibility that Haneke’s manner of storytelling could successfully manipulate and deceive a potential viewer (Lewis, 1996). However, this mode of storytelling can also be considered as an innovative form of art or a new framework regarding engineering perceptions that would allow the viewers to experience where the action lies as they would ponder upon to extract the interpretation within Haneke’s deployment that surrounds the cinematic framework. Haneke’s wide shot certainly possess a distinctive style of storytelling that provides a unique cinematic experience and deconstructs conventional storytelling (Radstone, 2010). Viewers can have their understanding of the film by the means of active participation and are not required to be merely reduced to passivity. From the beginning of the movie till the very end, each and every frame engages potential spectators as co-investigators of a mystery that unfolds.