对比《奇遇》和《夜》| 视觉景观作为内心的投射
- M
- Sep 22, 2020
- 7 min read
Updated: Oct 14, 2020
安东尼奥尼的电影视觉风格，擅长将主观内容视觉化，将景物，建筑转换为空间，将空间塑造成为带有情绪的场所。中性的空间在沾染上色彩，构图下后开始能够以环境的形态，映射着角色的感官和内心世界。
罗莎琳德·加尔特（Rosalind Galt）评价安东尼奥尼时说：“不规则外观”，画面元素的构图坚实的切割和“不息的动态变化”是其镜头下景物的特质。在《奇遇》一片的开头，安娜与父亲正在聊天，场景正是在一片刚开工的建筑工地旁，背景大面积景观与废墟的破败不堪，似乎正昭示和铺垫着父女关系的不合。而在海上孤岛上的几幕里多用中远景，冰冷的海浪与岩石占据了大量空间，主要角色再不是画面中心，角色与角色间的距离也显得十分遥远且刻意。在酒店等待日出时，摄影机频频由人摇向大海成为空镜头，人物的情绪被收纳和掩埋在了空镜头的景色中。这种“孤岛”的景观意境似乎也是角色内心疏离的暗示。
而在影片结尾处，男女主人公背向摄影机和观众，面对茫茫大海，构图左方是海中死寂的火山，象征着男女关系间一时热情和时间的不可挽回，右边是冰冷厚实的混凝土墙壁，象征着在当代语境下人与人关系的疏离，情感的冷漠，强调着现代社会和人类情感之间有着不可调和的天然矛盾——在拥有财富、房产、地位之后，在上层的生活方式全面入侵之后，我们的感情却无处存放，日渐稀薄。“奇遇”将是生活日渐富足的我们每日遭遇并登陆的孤岛。罗莎琳德·加尔特（Rosalind Galt）也向我们说明了这一理解的另一个方面，“安东尼奥尼电影中最重要的景观转变人物，是那些在画面中不可见的人物”，岛上居民社会性的缺乏，人和人交流的减少，二战后意大利的经济衰退和战争的阴影。
在《夜》一片里，剧本和奇遇很相似，同样是不忠的男人，彷徨的女人，但在节奏上更为成熟，对景物的捕捉相对奇遇而言也更加饱满。导演使用了很多的深焦镜头，透过窗，门，倒影去观看日常景物。大多时候时间静止于远景镜头里，观众在观看人物缓慢的移动过程中会感受到与角色相通的无聊和倦怠感。
而在其中一幕，汽车内的局促的小空间里，镜头里的主要景观是透过作家夫妇去看汽车后窗里运动中的城市，这样的深焦镜头为观看者带来了视觉上的流动和延展感。在视觉语言上，导演通过各种巨大体量的建筑，和人物的渺小的对比；光亮与黑暗的韵律，时间缓慢的节奏里人们漫无目的的行走，浩瀚的景观带着游荡的气质，人物的内心和在这样的空间里和景物进行着对话。同时与奇遇中一样，画面中依然常常将人物偏置，在场景调度中对背景做丰富化处理，安排了许多的动态元素，比如运动的车辆、人。主角在朋友家聚会的场景，几乎所有镜头中都有大量的背景人，他们在不同层次的空深度中跳跃、行走、谈笑，渲染了在人群中开阔而热闹的氛围，但似乎又彼此疏离。
《奇遇》和《夜》中，眼神的游离是人物对话时的一种共性风格。无论主角之间还是在人群之中，人物在对话的时候常常避免接触和对视，以微妙的犹疑和闪躲看向画面的不同处。在《奇遇》里桑德洛与安娜或是与克劳迪娅的缠绵戏份中，也都将目光交流减到最少，时常是短促的交流之后，女人立即将眼光避开。若是面对面的交流，反而要故意制造独语的感觉。这种表演法、摄影法，制造出人们交流不顺畅的效果，是表达角色情感荒芜、疏离的重要视觉因素。近乎无神的，“不需要表演”的表演方式，令演员本身似乎夜成为整部电影中制造无聊、制造烦闷、制造内心荒芜的一种隐喻，演员的用处与电影中小岛上房屋，建筑与荒地，没有区别，和空镜头中那枚朝阳一样，似乎都只是投射内心世界的对象和载体。
无论是《奇遇》中的男女主，还是《夜》里的作家夫妇，都是安东尼奥尼影片中经常出现的“现代症候群”患者。他们精神空虚，缺乏应有的道德观念，放纵自流，无法真正去爱和承受爱的重量。在生活的冒险和体验里不断追求着刺激和奇遇，却往往以内心的空虚和迷茫告终，这种感觉可能来源于意大利战后人们现实生活的普遍荒芜感。安东尼奥尼电影里的人物似乎都有一种共性的存在主义无聊，Andrew Sarris 称它为“安东尼奥尼式无”（Antoniennui）“这些“现代人们“无法与环境，同伴，甚至周围的物体建立真正的关系，因为他们带着僵化的价值体系，被时代的变化所疏离，于是他们往往以情欲来面对”。每一种随意的，象征性极强的漫步，都带着情绪化的蔓延。影片中所有的景物，景象似乎都是角色内心世界的投射。
对于安娜在海中游泳时说的一句台词我印象非常深刻：“我永远难以理解岛屿，是如何在只被水的包围下生活下去的”，和克里斯汀带着悲悯的名台词：“当我试着沟通时，爱情就消失了。”安东尼奥尼是如此擅长死寂的时间用放大的，不完全的视角和偏单薄的故事追溯和记录现代人精神生活的荒芜，情感的荒谬，同时也在试图在这种疏离中找回人们被埋葬的那种细腻丰富的情感变化，因此奇遇似乎既是现实，又是一种向内心沙漠深出叩问的重新开始。
I was intrigued by Antonioni’s way of digging hidden relationships through visualizing subjective content with neutral spaces. At the beginning of the film, Anna was talking with her father just next to a newly-built construction site. The dilapidated background landscape showed us the disagreement between father and daughter with the abandoned, down-trodden, sad atmosphere. On the isolated island, the medium-to-long shots are used frequently while the overlap scenes of the icy sea and rocks occupy a lot of picture space rather than focusing on the main characters. And the framed shots were frequently shaken form people to the sea into empty scenery shots, storing the dynamic alienation process of their hidden emotions. At the end of "L'Avventura", Sandro and Claudia turned their back on the camera and audience with the vast layers of sea's horizons while the volcano laid silently, symbolizing the irreversible enthusiasm and time between them.
In photography and framing, Antonioni is so talented at transforming and shaping landscape scenery and architecture into places with emotional metaphor. As Rosalind Galt indicated, "the significant figures of landscape transformation in Antonioni's films are those who are not visible in the picture ". Behind the picturesque are those invisible inhabitants, their powerful lack of sociality, the inner shadows and scars of locals which were left by the war II, economic decline and blows in Italy. The right-side cold thick concrete wall reveals the deep indifferent humanity and the irreconcilable natural contradiction between modern society and human emotions masterly.
In "La Notte", the story of the script is similar to "L'Avventura's" which is also about the uncertain relationship of an unfaithful man and a hesitated woman. In terms of visual language, the director used a lot of deep focus lenses to observe and spy on the normal daily scenes through windows, doors, and reflections framed the sublime landscape within a lot of close-up shots with a spectacular curiosity instead of placing them in a thin space level. Time is still in the distant scenes with slow paths, conveying the burnout and boredom emotions to the audience. Moreover, in the cramped small space inside the car, the main scene and shot is to capture the city in motion through the rear window of the car which is hidden behind the couple, bringing us a sense of visual flow and spatial extension. Meanwhile, the shots include various huge structures and in contrast with the tiny characters; the rhythm of light and darkness, the actress wandering aimlessly in the slow pace, the aphasia c between the character ’s inner world and the landscape scenes.
The separation of eye contact is a common style in character dialogue. No matter who Lidia is talking to, her eye contact flicker, avoid and was minimized in "La Notte". A feeling of a monologue is created deliberately in all the dialogue. This method symbolizes the gap of character's unsmooth communication, and the almost godless, "easy to perform" performance mode makes the actor a metaphor that services for the general atmosphere throughout the film, is the same with the rising sun, wastelands, architectures in scenes, both are objects and carriers that project the emotions.
Whether it is Sandro in "L'Avventura" or the writer couples in "La Notte", they are both the "groups trapped in the modern society" in Antonioni's films, spiritually void, lack of the normal moral feelings, indulging in self- discipline and cannot understand the real art of love. Pursuing adventures and stimulate on the way of life but ending ironically with inner emptiness and confusion. This kind of feeling may come from the sense of desolation, the alienation, and isolation of sociality. After watching La Notte, I felt that Antonioni's films seemed to have an identity suffering from a special kind of existential boredom, which is described by Andrew Sarris as "Antoniennui". Those "modern groups" cannot establish a true relationship with the living environment, their companions, and even just surrounding objects, since they are alienated by the changing era with a rigid value system, which envelope them with pursuing toward lust, all the random and highly symbolic strolls with emotional spread under Antonioni's shots are projections of their preposterous inner world.
I was impressed by Anna's word in the film that “I never understand islands, how do they live only surrounded by water” and Christine's inquiry: love disappears when I try to communicate. ”Through the director 's attention through the magnified, incomplete perspective of the landscape in the silence of the scenery, Antonioni questioned the barrenness discourse of the modern spiritual life, traced the absurdity of desire, trying to bring back the delicate and rich emotional changes that were buried in past alienation.
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