【摘 要】
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一、情节模式是电影叙事理论的基础rn追溯欧洲的戏剧史,古代亚里士多德的《诗学》最先引进了情节及模式的概念.文艺复兴促使古典文艺再生,人文主义开始萌芽,产生了意大利的即兴喜剧、西班牙的维伽戏剧,特别是英国的莎士比亚戏剧,为人文主义开拓了道路.启蒙运动中,歌德根据题材将剧情分为爱情、复仇等7类.意大利戏剧家卡洛·柯奇断言:“世界上一切戏剧都归纳为36种模式.”L·赫尔曼将剧情分为9大模式.美国电影理论家麦基将剧情和类型概括为25种模式.20世纪初,法国戏剧理论家乔治·普尔梯通过1200余部古今剧作,总结出36
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一、情节模式是电影叙事理论的基础rn追溯欧洲的戏剧史,古代亚里士多德的《诗学》最先引进了情节及模式的概念.文艺复兴促使古典文艺再生,人文主义开始萌芽,产生了意大利的即兴喜剧、西班牙的维伽戏剧,特别是英国的莎士比亚戏剧,为人文主义开拓了道路.启蒙运动中,歌德根据题材将剧情分为爱情、复仇等7类.意大利戏剧家卡洛·柯奇断言:“世界上一切戏剧都归纳为36种模式.”L·赫尔曼将剧情分为9大模式.美国电影理论家麦基将剧情和类型概括为25种模式.20世纪初,法国戏剧理论家乔治·普尔梯通过1200余部古今剧作,总结出36种模式.而“释谜”情节模式的符码与次符码研究,正是以此为圭臬.
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