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多元共情：高低语境视阈下的纪录片《二十二》多模态叙事策略

Pluralism and Empathy: The Multimodal Narrative Strategy of the Documentary Twenty Two in Light of High-and-Low Context

Film，Television and Theatre Review / 2024,4(2): 73-78 / 2024-07-29 1383 550

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• Authors: 黄恩赐 宋啟骏
• Information:

  广东第二师范学院，广州

• Keywords:
  Twenty-two; Narrative strategy; High-low context; Visual grammar; Multimodal; empathy
  《二十二》; 叙事策略; 高低语境; 视觉语法; 多模态; 共情
• Abstract: Cross-cultural documentary is coordinated in various cultural clusters, striving to reduce cultural barriers and maximize the meaning of the theme of the film. As the first documentary film in China to break the 100 million box office, "Twenty-Two" fully respects the main narrative rights of "comfort women" and mobilizes multi-modal resources. Reduce cultural discounts and convey the voice of the "comfort women" elderly. By integrating high-low context theory and visual grammar to construct a cross-context visual narrative model, it can be found that the multi-modal narrative strategy of Twenty-Two is developed around the common core of humanity, through the reproduction of meaning, Interactive meaning and composition of meaning and context interaction, assist cross-cultural audiences to understand the meaning, to achieve the purpose of multiple empathy. 跨文化纪录片协调于各文化集群，力求减少文化隔阂，最大化传递影片主题意义。《二十二》作为中国首部票房破亿的纪录电影，充分尊重“慰安妇”的主体叙事权，调动多模态资源，减少文化折扣，传递“慰安妇”老人的声音。融合高低语境理论与视觉语法，建构跨语境视觉叙事模型，可以发现，《二十二》的多模态叙事策略围绕人文共核展开，通过再现意义、互动意义及构图意义与语境互动，辅助跨文化受众理解意义，达到多元共情的目的。
• DOI: https://doi.org/10.35534/fttr.0402010
• Cite: 黄恩赐，宋啟骏．多元共情：高低语境视阈下的纪录片《二十二》多模态叙事策略［J］．影视戏剧评论，2024，4（2）：73-78．