华文文学
華文文學
화문문학
CHINESE LITERATURE
2015年
1期
82-87
,共6页
张爱玲%电影剧本%独特性
張愛玲%電影劇本%獨特性
장애령%전영극본%독특성
Eileen Chang%film scripts%uniqueness
张爱玲香港时期电影剧本与她散文、小说的风格大异其趣，甚至与她上海时期电影剧本也相去甚远，本文从封闭式和开放式、张扬之美和约束之美、“几何点”的时间感和“倏忽”的时间感三个方面，比较论述张爱玲香港时期电影剧本的独特性，试图勾勒出张爱玲隐匿多年的另一副面孔。
張愛玲香港時期電影劇本與她散文、小說的風格大異其趣，甚至與她上海時期電影劇本也相去甚遠，本文從封閉式和開放式、張颺之美和約束之美、“幾何點”的時間感和“倏忽”的時間感三箇方麵，比較論述張愛玲香港時期電影劇本的獨特性，試圖勾勒齣張愛玲隱匿多年的另一副麵孔。
장애령향항시기전영극본여저산문、소설적풍격대이기취，심지여저상해시기전영극본야상거심원，본문종봉폐식화개방식、장양지미화약속지미、“궤하점”적시간감화“숙홀”적시간감삼개방면，비교논술장애령향항시기전영극본적독특성，시도구륵출장애령은닉다년적령일부면공。
Eileen Chang’s film scripts in her Hong Kong period are vastly different not only from her essays and fiction but also from her film scripts in her Shanghai period. In this article, the author discusses the uniqueness of her film scripts in her Hong Kong period by comparing the three aspects of the said scripts, which are the shift from enclosure to openness, the beauty of obtrusiveness and restraint, and the time sense of“geometric points”and of“transience”, in an attempt to delineate another face of hers that remains hidden for many years.
