作业代写：Defamiliarization narration in black humor films

下面为大家整理一篇优秀的paper代写范文- Defamiliarization narration in black humor films，供大家参考学习，这篇论文讨论了黑色幽默影片中的陌生化叙事。在当下的黑色幽默剧作中，创作者以一种“陌生化”的方式来强化观众对影片悲喜风格和主题内涵的认识与思考。实际上，陌生化叙事强调的是增加感受难度、延长感受时间的艺术过程的重要性，只有在这个过程之中观众才会充分体验到电影所要表达的内在黑色幽默意蕴。由此看来，陌生化叙事在黑色幽默影片中营造了重要的审美意蕴。

Black humor is different from ordinary comedy films. "black humor is mainly reflected in the image representation as a kind of stylized pursuit, which mobilizes various audio-visual elements unique to the film media, aiming to create a" grim and funny tone ". And its deep structure often contains a paradoxical absurdity core, which makes you fall into a rational dilemma and feel funny. With the development of The Times, the narrative material and narrative strategy of black humor films have achieved unprecedented development. It can be said that in the current multicultural context, black humor films are absorbing all materials that can be "used for me" to serve their own narrative, so as to attract more audiences. It has become a source of inspiration, whether it is a silly comedy or a traditional suspense and action film. However, we will find that "defamiliarization" is an important principle among these narrative methods. For filmmakers, "defamiliarization" not only enhances the novelty of the film, but also creates an effect of alienation, satisfying the audience's vision of expectation and evoking the audience's resonance.

Defamiliarization is one of the core concepts of Russian formalist literary theory. In short, defamiliarization is an art process that reawakens people's interest in the world around them and constantly updates the way they feel about the world. Through this procedure, things that were once commonplace, habitual, and without any sense of novelty would be transformed into something extraordinary and distinct, which would arouse people's concern and attention and bring the aesthetic subject back to the thrill of the original perception of things. Moreover, after the elimination of "strangeness", the receiver tends to reach a higher level of understanding and understanding of things. As an art form that is experienced and felt by the audience, the theory of "defamiliarization" is undoubtedly of great significance to both the film creators and the audience.

"Defamiliarization" in the film of black humor can be expressed in three ways: the variation of language, the abnormality of structure and the difficulty of time and space. In short, all elements in the film can be achieved through a "defamiliarization" approach to its distinctive meaning, and then serve to strengthen the film's ideological connotation. In recent years, with rich color of black humor in "crazy stone", "crazy racing" and other films more than they used to film rare clues and + freedom of narrative + + coincidence of time and space on logic before with modern characteristics such as language, with overlapping, collage of narrative means of postmodern means, to express the crazy, weird feeling style. As another example, the director jiang wen's with black humor type and style of the film "let the bullets fly," whether it is a compact narrative style, narrative strategy, or the picture of the film composition of a picture is a an audience to accept normal habit, as well as bring fresh always affects the audience's mind, leads the audience to experience, integrated into the film, and then grasp the profound connotation.

It can be said that in the current black humor plays, the creator always tries his best to break the audience's acceptance orientation, and to strengthen the audience's understanding and thinking of the tragic style and theme connotation of the film in a way of "defamiliarization". In other words, defamiliarization narrative essentially emphasizes the importance of the artistic process of increasing the difficulty of feeling and extending the time of feeling. Only in this process can the audience fully experience the inherent dark humor implied by the film. From this point of view, defamiliarization narrative creates an important aesthetic implication in black humor films.

As an audio-visual art, film is distinguished from other art forms by its perceptual intuition. With basic visual and auditory organs, normal movie-watching activities can be carried out. Yet this is both the film's strength and its weakness. After hundreds of years of development, the film has formed a complete set of style system. Feature films, documentaries, educational films, fine arts films and other films are booming, and the new images brought by new films in the early days of the film are no longer available. In the context of pan-aesthetics, how to satisfy the curiosity of audiences and create totally different film languages to attract audiences has become the primary problem that film creators should solve. The narrative method of "defamiliarization" adopted by the dark humor film brings a novel sense of aesthetic intuition to the audience. Aesthetic intuition is the beginning of art appreciation. It emphasizes the ability to grasp and comprehend the aesthetic object immediately, which is characterized by immediacy and directness. Defamiliarization is to break the routine, hinder and prolong the aesthetic activity, and its primary result is to bring the novelty of an intuitive experience. In particular, Hegel emphasized the importance of novelty in aesthetic activities, arguing that "artistic, religious and even scientific research generally starts from the sense of wonder." Man can be moved by natural objects of wonder, and he can rediscover himself in them, and find thought and reason. The dark humor film brings a novel "artistic sense" to the audience through such defamiliarization narrative means as language variation, structure abnormality, and time and space difficulty. So that the audience suddenly forget everything, concentrate on watching the film, fully into the aesthetic pleasure. Only in this way can the audience find "thought and reason" in the dark humor mixed with sadness and happiness, and understand the absurd core of the film.

In bakhtin's polyphonic dialogue theory, there is a dialogue between the author and the characters and between the characters. However, from the perspective of reception aesthetics, the relationship between dialogue and communication is also embodied between the recipient and the text. According to iser, literary works consist of two parts: text and reader, which exist between text and reading. That is to say, works only exist in the communication activities of reading and text. This essentially emphasizes the communication and dialogue characteristics of an aesthetic experience. According to iser, the unfolding of this experience communication is due to the existence of a "evocative structure of text". There is something blank or undecided in this, and it beckons the reader to read. Here, "the relationship of the text to the reader is one of mutual questioning and answering. The reading of readers is to constantly ask questions to this paper, which constantly answers readers' questions with the richness of its own world, showing, expanding, changing and exceeding readers' horizon of questions. At the same time, as an object waiting to be explained, this paper also means to ask the readers a question. Every time the readers read this paper, they understand the big question of this paper and answer it. Similarly, in the dark humor film, defamiliarization narrative not only brings the sense of aesthetic novelty, but also constructs a kind of "calling structure". This kind of structure, which is full of uncertainty and blankness, leads the audience to actively enter the image world constructed by the film and to ask and answer questions with the film text. The whole process of film watching is actually a space of interaction, in which the audience communicates with the text world of the film and their respective meanings are revealed in the mutual dialogue. As gadamer thought, the work of art is not something that lies there, it lies in the act of making sense and understanding.

The strong and bright reflexivity can be said to be the most important feature that black humor films are different from ordinary comedy films. Joseph heller once said, "I want people to laugh first, and then to look back in horror at what they've laughed at." The audience walked out of the cinema a little more deeply than when they went in. The dark humor film deals with the content of tragedy in the form of comedy, treating pain and misfortune as the object of jokes, laughing at ugliness, madness, perversion, misfortune and absurdity. Defamiliarization narration, on the other hand, becomes a powerful weapon to produce and enhance the effect of reflection. Through various methods of "defamiliarization", black humor is better presented in the film. The audience's inherent expectation horizon is broken, and a new higher level of understanding is obtained in the active dialogue understanding. The audience is attracted by the novel sense brought by defamiliarization narration, and enters into the aesthetic experience of communication and dialogue with the film, and begins to understand the film. When the event is over, the audience will often read something deeper than the film, and the reflection of the film begins. It can be said that it is this kind of defamiliarization narration that will produce a strong reflection of the aesthetic effect brought by the end of the aesthetic process.

Movies tend to use close-up shots to create a sense of wonder and express the meaning of thoughts, which in turn leads to audience reflection. "Great features are lyrical and work on our hearts, not our eyes," says balazz bela. "Ghost is coming" is a dark humorous film with a strong tragic style directed by jiang wen. At the end of the film, a series of featured close-ups of "defamiliarization" are used. Ma junior was sentenced to death for "violating the armistice". Before his death, ma junior sent out a chilling howl. Then, a novel close-up saves the audience from the long-time movie-watching fatigue: the beheaded Mr. Ma opened his blood-blurred eyes, which immediately attracted the audience's attention and brought a new "sense of art". At this time, ma junior became the lens's perspective, and the audience's vision also changed with the change of the lens. The irony begins to sink in to the attentive audience as we watch ma's vision shift to a house of flowers, which he has been carefully watching for half a year, polishing his saber, and with a slight smile on his lips. The film actually sets up a question here: why is the dead junior still smiling? What does that mean? It beckons viewers to actively enter the text world. At this point, the audience's acceptance mood begins to change, and the emotions quickly move into the film. Dialogue and communication are conducted through imagination and text to remove the doubts in the mind. What the film presents then begins to answer the audience's questions. The black-and-white images from beginning to end are transformed into bright blood red in the eyes of the severed head of ma3. The camera moves away from ma3's point of view and again becomes the viewer, giving him a close-up view of his head. Looking back on the execution, numerous Chinese onlookers watched ma's death. One "watcher" suddenly fell down from a height, and a fat pig rushed out of a small gate and arrayed a national army. Some people think that it would be very popular to make jokes about it. The ingenious arrangement of this plot completely deconstructs the solemnity of the trial, and the trial field becomes a space of game and banter, full of absurdity. This gave the audience a strong shock, so they have been laughing several times in the first two hours of the light mentality, suddenly became heavy. As balazz bela said, good close-ups work on our hearts, not our eyes. "Here comes the devil" "not only extends the sharp scalpel of introspection deep into the soul of the nation, but also strips out the Japanese 'samurai' spiritual cloak in the bitter irony. The double-arrowhead torture makes the film a black fable of the Chinese and Japanese nationality. This strange close-up makes the audience reflect deeply after watching the film, which is also the purpose and value of black humor and comedy. In a word, under the effect of "defamiliarization", through the process of novelty -- dialogue -- reflection, the film has constructed an interactive space in which the audience communicates and talks with the text, and their value is shown in this space.

Undeniably, through the defamiliarization narrative, the features of the dark humor film have been brought into full play incisively and vividly, its subject connotation has been further deepened, and the audience can be guided to understand the spiritual core of the film in the most attractive way. Therefore, "defamiliarization" is indeed a very distinct narrative feature of current black humor films. It not only evokes the audience's resonance, satisfies the audience's viewing psychology, and enables the audience to better integrate into the film, but also is an important strategy for the multi-cultural era film creators to improve the film's artistic level and make innovations. However, the use of this defamiliarization narrative should not be overdone. The film is so novel that it sometimes completely exceeds the audience's expectations, making the audience unable to accept it. Strange familiarity and familiar strangeness are the most preferred expression of the audience, and only in this way, "defamiliarization" will get its due aesthetic value.

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