西德尼·吕美特《死亡陷阱》的舞台与表演

Gary Bettinson
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引用次数: 0

摘要

本文对西德尼·吕美特的惊悚小说《死亡陷阱》(1982)进行了风格分析,分析了其舞台和表演策略是如何产生悬念和惊喜的叙事效果的。它认为吕美特将这些表演策略锚定在一个以表达微妙为基础的广泛的写作计划上;因此,吕美特的电影让我们想起了美国电影制作日益衰落的传统,在这种传统中,风格的独创性存在于风格话语的外延和表达(而不是装饰或参数化)层面。本文将吕美特的风格选择视为一组独特的美学问题的创造性解决方案。它考察并确定了贯穿《死亡陷阱》的动机分期图式的功能;它阐明了这些图式是如何由明星球员激发的,以实质性的方式塑造了观众的认知吸收。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Staging and Performance in Sidney Lumet’s Deathtrap
This article provides a stylistic examination of Sidney Lumet’s thriller Deathtrap (1982), analyzing how its strategies of staging and performance generate narrational effects of suspense and surprise. It argues that Lumet anchors these performative strategies to a broad authorial program grounded in expressive subtlety; as such, Lumet’s film reminds us of a waning tradition of US filmmaking in which stylistic ingenuity resides at the denotative and expressive (rather than the decorative or parametric) levels of stylistic discourse. The article treats Lumet’s stylistic choices as creative solutions to a distinctive set of aesthetic problems. It canvasses—and identifies the functions of—the motivic staging schemas patterned throughout Deathtrap; and it illuminates how these schemas, actuated by star players, shape the viewer’s cognitive uptake in substantive ways.
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