發(fā)布時(shí)間：2018-07-07 14:32

  本文選題：感憤體驗(yàn) + 潛抑　； 參考：《電影文學(xué)》2016年16期

【摘要】：從清朝末年開(kāi)始進(jìn)入現(xiàn)代化的中國(guó),隨著社會(huì)背景的變遷,對(duì)于國(guó)人的心理造成了反反復(fù)復(fù)的影響。特別是特定歷史時(shí)期的劇變,不光是在政治、經(jīng)濟(jì)和文化領(lǐng)域造成了"斷裂",也在集體意識(shí)和個(gè)體心理層面產(chǎn)生了巨大的沖擊。表現(xiàn)在藝術(shù)作品領(lǐng)域,這種時(shí)代沖擊所帶來(lái)的傷痛尤為顯著。而心理學(xué)家弗洛伊德關(guān)于心理防御機(jī)制的相關(guān)描述,則可以用來(lái)描繪電影創(chuàng)作者的"集體無(wú)意識(shí)"是如何通過(guò)電影作品來(lái)表現(xiàn)歷史與個(gè)體的相互關(guān)系。
[Abstract]:Since the late Qing Dynasty, the modernization of China began, with the change of social background, the psychology of Chinese people has been affected repeatedly. In particular, the dramatic changes in a particular historical period have not only caused "breakage" in the political, economic and cultural fields, but also had a great impact on the collective consciousness and individual psychology. In the field of works of art, the pain caused by the impact of the times is particularly significant. The psychologist Freud's description of psychological defense mechanism can be used to describe how the "collective unconscious" of film creators can express the relationship between history and individual through the film works.
【作者單位】： 淮陰師范學(xué)院傳媒學(xué)院;
【分類(lèi)號(hào)】：J901
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本文編號(hào)：2105257