Pacchigi, The Imjin River Incident and 1968: Transmedia History Telling
Pacchigi, The Imjin River Incident and 1968: Transmedia History Telling
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帕基吉《临津江事件与1968：跨媒体历史讲述》
DOI：
10.1080/17564905.2014.961709
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发表时间：
2014
期刊：
影响因子：
--
通讯作者：
Oliver DEW
中科院分区：
文献类型：
--
作者：
Oliver DEW
《Pacchigi》（井筒一幸，2004 年）是一部热门电影，改编自 20 世纪 60 年代京都一位日本青年翻译和翻唱朝鲜民谣《临津江》的故事。这首歌既是电影情节的中心，也是围绕电影传播的更广泛的媒体文本的中心，对故事进行宣传和评论，邀请观众解开电影中包含的密集的流行文化引用网络，从而分散和增强电影的叙述。帕奇吉既是一个跨媒体品牌或特许经营权，也是一个历史背景的改编作品。本文询问跨媒体叙事对 Pacchigif 系列的历史和改编方法有何影响；换句话说，当“跨媒体讲故事”变成跨媒体历史讲述时会发生什么。因为它所改编的来源本身就是一个改编的故事，所以帕基吉能够像许多其他电影一样，反射性地评论其自身的互文性，与杰拉尔·热内特称之为“元文本”的来源建立关系。 《帕奇吉夫》系列的密集互文性否认其任何一个组成部分具有明确讲述的地位，并鼓励观众参与其引文搜索游戏，尝试了一种对话式和反射性的历史讲述模式。
Pacchigi(Izutsu Kazuyuki, 2004) was a hit film that adapted the story of a Japanese youth translating and covering a North Korean ballad,Imjin River, in 1960s Kyoto. The song is at the centre of both the film's plot and the broader constellation of media texts that circulated around the film, promoting and commenting on the story, inviting the viewer to unpack the dense network of pop cultural citations contained in the film, and hence dispersing and augmenting the film's narration.Pacchigiis then both a transmedia brand or franchise, and an adaptation with a historical setting. This article asks what effects transmedia narration has on thePacchigifranchise's approach to history and adaptation; what happens, in other words, when ‘transmedia storytelling’ becomes transmedia history telling. Because the source it is adapting is itself a tale of adaptation,Pacchigiis able, as a number of other films have, to reflexively comment on its own intertextuality, to enter into a relationship with its sources that Gérard Genette calls ‘metatextual’. The dense intertextuality of thePacchigifranchise, in denying any one of its component parts the status of a definitive telling, and encouraging spectators to engage in its game of citation-hunting, attempts a mode of history telling that is dialogical and reflexive.