The Descent 与其它…

2005年的英国恐怖片。

片子的压抑感营造的相当不错,怪物设计也算过得去,但是本片最大的看点还是在黑暗封闭异形环绕的绝境中人性的缺陷和阴暗的发酵。
探险前众人的风趣友善到了洞穴退路堵死的之时早已消失殆尽了,而随着食人异形的出现她们的团结也业已崩溃,而到牺牲者的逐步增加,旧怨新仇也渐把幸存者拖向人性黑暗的深渊,最后留下来的活人已和那些地底异形没太大区别了。

地下洞穴的封闭感在恐怖片的氛围营造上起了相当大的作用。同为封闭环境,换到科幻小说中的意义就非常不同了。Roland Barthes 在他的 Mythologies 中对 Jules Verne 的科幻小说的评价(The Nautilus and the Drunken Boat)可以窥见一斑:
(The ship) is, at a deeper level, the emblem of closure. An inclination for ships always means the joy of perfectly enclosing oneself, of having at hand the greatest possible number of objects, and having at one’s disposal an absolutely finite space.  …  The Nautilus, in this regard, is the most desirable of all caves: the enjoyment of being enclosed reaches its paroxysm when, from the bosom of this unbroken inwardness, it is possible to watch, through a large window-pane, the outside vagueness of the waters, and thus define, in a single act, the inside by means of its opposite.
虽然他具体所指的是 海底两万里 的 鹦鹉螺号,但是上面的论述对于大多数科幻小说中的船或飞船都是成立的。

顺便,Roland Barthes 的 Mythologies 是相当值得一读的,他对很多西方人(这里需要特定的是,二十世纪前半,白人,有产阶级)看作自然而然和习以为常的社会现象进行了剖析,揭示出它们不易察觉的被赋予的意义。
不过这本书由我们这些半个世纪后的东方人读的话会比较难懂一点,到底我们默认的 decoding 的方法和 Barthes 的 coding 的方法已经有相当的差异了吧。好吧,到这儿已经扯的够远的了。

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