Abstract

Established in the 1960s, narratology has developed very rapidly thanks to the joint effort of many international scholars, who have devoted themselves to the study of various types of narratives, among which the written narratives such as novels, magazines and news reports constitute the majority, yet leaving other issues inadequately expounded, such as the narrative perspective, narrative voice and the transgression of vision in the film.
This study applies Gerard Genette's theory of narratology to probing into the features of the narrative voice and vision of the film Rebecca, a classic psychological thriller directed by Alfred Hitchcock, aiming at figuring out the creation of suspense in the movie as well as expanding the application of narratological theory. By exploring issues such as the identity, the role and the status of the narrator, the types of focalization and the instance of transgression of vision in the movie, the study draws a conclusion that Rebecca, as a first-person retrospective narration, mainly adopts an explicit I-witness narrator and the experiencing-I as the internal focalizer, along with several interruptions of an omniscient observer, deliberately designed by the director or the script writer, which contribute to creating an atmosphere of suspense.

KEYWORDS:narrative voice；narrative vision；transgression of vision；suspense movies

摘　要

二十世纪六十年代，叙事学成为一门独立的学科并迅速发展。国际上众多学者对叙事现象和文本进行了大量研究，但主要集中于小说、杂志、新闻报道等书面叙事材料，而较少关注电影的叙事手法、叙事结构、叙事声音和叙事眼光的差异。作为希区柯克的成名代表作之一，电影《蝴蝶梦》的成功很大程度上得益于悬念效果的营造，而悬念效果的营造离不开高超的叙事手法。本论文以法国结构主义批评家热拉尔•热奈特的叙事学理论为基础，探讨电影《蝴蝶梦》中的叙事声音和叙事眼光，旨在剖析电影悬念如何营造，同时也旨在拓展叙事学理论的应用范围。通过深入分析这一叙事性电影中的叙述者身份、地位和性质，界定和区分叙境中叙事眼光与叙事声音的关系，深入考察影片在叙述过程中可能涉及到的叙事眼光转换甚至越界现象，本文得出这样一个结论，即电影《蝴蝶梦》主要采用第一人称见证人的声音为叙述声音，以第一人称经历自我的眼光为主要叙事眼光进行叙事，而影片中出现的视觉越界现象可视为导演或编剧为制造悬念效果而特意采用的叙事技巧。

关键词:叙事声音；叙事眼光；视觉越界；悬念电影

1. Introduction
It is an interesting paradox that people, though likely to be scared or frightened by suspense movies, still crave for watching them. Undoubtedly, the success of a suspense movie relies mainly on the skillful creation of tension, a magnet for movie buffs, which, of course, has much to do with the narrative techniques used by the director or the script writer.