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二三十年代的中国叙事场域,充斥着形形色色的意识形态魅影以及与之相适应的叙事载体、技巧与编码手法,其中影像叙事是本该受到重视却被有意遮蔽的一个重要组成部分。本文着力探讨处于意识形态魅影之下的影像叙事如何通过编码技巧争夺符合各自意识形态利益的控制权与主导权,电影的技术手段如何对某些显而易见的信息进行修辞,使其遭遇歪曲乃至偷换,以服务于某种意识形态目标。同时,电影独有的技术属性,如何逼迫操控者必须不断更新叙事语言与修辞模式,以适应不同的不断变化着的现实语境。
In the 1920s and 1930s, the Chinese narrative field was filled with all kinds of ideological phantoms and corresponding narrative carriers, techniques and coding techniques. Image narration was an important part of the narrative that should be taken seriously and intentionally obscured. This article focuses on how the image narration under the phantom of ideology competes for the control right and the dominant power that accord with the interests of the respective ideologies through the coding techniques. How does the technical means of the film rhetoric some obvious information and distorts or even steals To serve some ideological goal. At the same time, how to force the manipulator to continuously update the narrative language and rhetorical mode to adapt to different changing contexts.