新時期香港電影探析
發(fā)布時間：2018-11-08 13:07
【摘要】：香港電影是有些人的童年記憶，是有些人的青春碎片，那些老港片鐫刻了無數(shù)人的集體回憶，散落在一代代人的成長歷程中，電影中的明星常常是我們少年時的偶像，電影中的元素經(jīng)常成為時尚界的流行指標(biāo)，經(jīng)典對白常常成為大眾的流行語。雖然香港電影的類型與題材包羅萬象，但都秉承著“娛樂至死”的癲狂理念，敢于放浪形骸，以嬉笑怒罵的方式針砭時弊。在香港相對自由的創(chuàng)作環(huán)境下，產(chǎn)生了一批極富個人魅力的導(dǎo)演與演員，從張徹、胡金銓到徐克、杜琪峰，從鄧永祥、陳寶珠到張國榮、林青霞，香港電影的風(fēng)采跨越了半個多世紀(jì)。不僅華人愛看港片，面對強(qiáng)勁的好萊塢大片，頂峰時期的香港電影仍有抗衡之力，許多電影批評家與理論家例如大衛(wèi)·波德維爾等都專門對香港電影做了大量研究。 可惜時至90年代后期，亞洲經(jīng)濟(jì)危機(jī)及周邊民族電影的崛起使香港電影的市場迅速縮水，香港電影逐漸走上了下坡路，作品數(shù)量大幅度下降，票房銳減，電影公司紛紛倒閉，產(chǎn)業(yè)資金流向房地產(chǎn)等其他行業(yè)，這一時期雖不乏經(jīng)典作品，但香港電影的整體水平已經(jīng)不如從前，大牌明星轉(zhuǎn)而投身于好萊塢尋求發(fā)展，使得整個香港電影界都處在低迷狀態(tài)徘徊。到了新時期也就是2003年，香港電影開始完成自身角色的轉(zhuǎn)變，呈現(xiàn)出集體向內(nèi)地回歸的趨勢。新時期的電影政策、產(chǎn)業(yè)模式、創(chuàng)作風(fēng)格以及與內(nèi)地的合作地位都發(fā)生了一系列轉(zhuǎn)變，集體北上的香港導(dǎo)演意欲征服內(nèi)地這片沃土，卻遭遇了種種關(guān)卡與障礙，歷史政治環(huán)境的不同導(dǎo)致兩地意識形態(tài)有所差異，觀眾的審美取向與品味也不在一條水平線上，內(nèi)地審查制度的不健全使香港影人一直缺乏最有效的保障，極力融入內(nèi)地的意愿也使香港電影的港味變了些許味道。 我國的電影批評家們對香港電影的研究甚多，但還未對最近十年的香港電影做一個系統(tǒng)的理論研究。目前存在的大多只是針對其中的一個方面，例如政策、合作方式、產(chǎn)業(yè)體系等，也沒有論證這些方面之間的聯(lián)系。論文分為五章，第一章：運用文獻(xiàn)調(diào)研的方式，，敘述從2003年到2013年這十年來香港電影的概況，首先對新時期的研究范圍做了界定，然后從文化、歷史的角度論述香港電影的人文背景及發(fā)展脈絡(luò)，再從體制、電影符號的變更等角度來分析新時期與前期的不同；第二章：通過個案與類比的研究方法，論述新時期香港電影的尷尬現(xiàn)狀并探析這些問題出現(xiàn)的社會原因與個人原因；第三章：通過對經(jīng)典案例的分析著重探討了新時期香港電影的形式特質(zhì)；第四章：運用案例分析法結(jié)合具體導(dǎo)演探討香港電影不同類型的美學(xué)新意義；第五章：最后根據(jù)香港影人遭遇的困境給出一些淺薄的意見，展望一下香港電影的將來。
[Abstract]:Hong Kong films are the childhood memories of some people and the youth fragments of some people. Those old Hong Kong films are engraved with the collective memories of countless people, scattered throughout the growing up of generations of people. The stars in the films are often idols of our youth. Movie elements often become popular indicators of fashion, classic dialogue often become popular words. Although the types and themes of Hong Kong films are all inclusive, they all bear the crazy idea of "entertainment to death" and dare to express their views and criticize the current situation in a manner of frolicking and exasperation. In Hong Kong's relatively free creative environment, a group of highly attractive directors and actors have emerged, from Zhang Chou, Hu Jinquan to Tsui, to Qifeng, from Deng Yongxiang, Chen Baozhu to Zhang Guorong, Lin Qingxia, The style of Hong Kong films has spanned more than half a century. Not only do Chinese like to watch Hong Kong films, but in the face of strong Hollywood blockbusters, Hong Kong films at their peak still have a counterweight. Many film critics and theorists, such as David Bodwell, have done a lot of research on Hong Kong films. Unfortunately, by the late 1990s, the Asian economic crisis and the rise of national films in the surrounding countries had caused the Hong Kong film market to shrink rapidly. Hong Kong films gradually went downhill, the number of works fell sharply, the box office fell sharply, and the film companies closed down one after another. Industrial capital flows to other industries, such as real estate. Although there were no shortage of classic works during this period, the overall level of Hong Kong films was not as good as before, and the big stars turned to Hollywood in search of development. The whole Hong Kong film industry is in a doldrums. In the new era, 2003, Hong Kong films began to complete their own role changes, showing a collective return to the mainland trend. A series of changes have taken place in the film policy, industrial model, creative style and cooperative status with the mainland in the new era. The Hong Kong directors who collectively headed northward wanted to conquer the fertile land of the mainland, but encountered all kinds of obstacles and obstacles. The differences in historical and political environments have led to differences in ideology between the two places, and the aesthetic orientation and taste of the audience are not on the same level. The imperfect censorship system in the mainland has left Hong Kong filmmakers without the most effective protection. The desire to integrate into the mainland has also made Hong Kong films taste a little different. There are a lot of studies on Hong Kong films in China, but not a systematic theoretical study of Hong Kong films in the last ten years. At present, most of them only focus on one aspect, such as policy, cooperation mode, industrial system and so on, and do not demonstrate the connection between these aspects. The thesis is divided into five chapters. The first chapter: by using the method of literature research, the paper describes the general situation of Hong Kong films from 2003 to 2013. Firstly, it defines the scope of research in the new period, and then from the perspective of culture. From the historical point of view, this paper discusses the humanistic background and development context of Hong Kong film, and then analyzes the differences between the new period and the earlier period from the perspective of the system and the change of film symbols. The second chapter: through the case and the analogy research method, discusses the awkward present situation of the Hong Kong film in the new period, and analyzes the social reason and the personal reason of these problems; Chapter three: through the analysis of the classic cases, the author focuses on the formal characteristics of Hong Kong films in the new period, and discusses the new aesthetic significance of different types of Hong Kong films by using the case analysis method combined with the specific directors. Chapter 5: finally, according to the plight of Hong Kong filmmakers, give some shallow opinions, and look forward to the future of Hong Kong films.
【學(xué)位授予單位】：曲阜師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J905;J943
本文編號：2318592
[Abstract]:Hong Kong films are the childhood memories of some people and the youth fragments of some people. Those old Hong Kong films are engraved with the collective memories of countless people, scattered throughout the growing up of generations of people. The stars in the films are often idols of our youth. Movie elements often become popular indicators of fashion, classic dialogue often become popular words. Although the types and themes of Hong Kong films are all inclusive, they all bear the crazy idea of "entertainment to death" and dare to express their views and criticize the current situation in a manner of frolicking and exasperation. In Hong Kong's relatively free creative environment, a group of highly attractive directors and actors have emerged, from Zhang Chou, Hu Jinquan to Tsui, to Qifeng, from Deng Yongxiang, Chen Baozhu to Zhang Guorong, Lin Qingxia, The style of Hong Kong films has spanned more than half a century. Not only do Chinese like to watch Hong Kong films, but in the face of strong Hollywood blockbusters, Hong Kong films at their peak still have a counterweight. Many film critics and theorists, such as David Bodwell, have done a lot of research on Hong Kong films. Unfortunately, by the late 1990s, the Asian economic crisis and the rise of national films in the surrounding countries had caused the Hong Kong film market to shrink rapidly. Hong Kong films gradually went downhill, the number of works fell sharply, the box office fell sharply, and the film companies closed down one after another. Industrial capital flows to other industries, such as real estate. Although there were no shortage of classic works during this period, the overall level of Hong Kong films was not as good as before, and the big stars turned to Hollywood in search of development. The whole Hong Kong film industry is in a doldrums. In the new era, 2003, Hong Kong films began to complete their own role changes, showing a collective return to the mainland trend. A series of changes have taken place in the film policy, industrial model, creative style and cooperative status with the mainland in the new era. The Hong Kong directors who collectively headed northward wanted to conquer the fertile land of the mainland, but encountered all kinds of obstacles and obstacles. The differences in historical and political environments have led to differences in ideology between the two places, and the aesthetic orientation and taste of the audience are not on the same level. The imperfect censorship system in the mainland has left Hong Kong filmmakers without the most effective protection. The desire to integrate into the mainland has also made Hong Kong films taste a little different. There are a lot of studies on Hong Kong films in China, but not a systematic theoretical study of Hong Kong films in the last ten years. At present, most of them only focus on one aspect, such as policy, cooperation mode, industrial system and so on, and do not demonstrate the connection between these aspects. The thesis is divided into five chapters. The first chapter: by using the method of literature research, the paper describes the general situation of Hong Kong films from 2003 to 2013. Firstly, it defines the scope of research in the new period, and then from the perspective of culture. From the historical point of view, this paper discusses the humanistic background and development context of Hong Kong film, and then analyzes the differences between the new period and the earlier period from the perspective of the system and the change of film symbols. The second chapter: through the case and the analogy research method, discusses the awkward present situation of the Hong Kong film in the new period, and analyzes the social reason and the personal reason of these problems; Chapter three: through the analysis of the classic cases, the author focuses on the formal characteristics of Hong Kong films in the new period, and discusses the new aesthetic significance of different types of Hong Kong films by using the case analysis method combined with the specific directors. Chapter 5: finally, according to the plight of Hong Kong filmmakers, give some shallow opinions, and look forward to the future of Hong Kong films.
【學(xué)位授予單位】：曲阜師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J905;J943
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