本文選題：法制電影 + 鄉(xiāng)村題材　； 參考：《山東大學(xué)》2011年博士論文

【摘要】：本文的重點(diǎn)是對(duì)1979—2008年間中國(guó)鄉(xiāng)村題材法制電影作研究。 此30年對(duì)應(yīng)中國(guó)改革開放的歷程,法制電影的數(shù)量與日俱增,特別是其中的鄉(xiāng)村題材法制電影的數(shù)量也呈不斷上升的趨勢(shì),據(jù)統(tǒng)計(jì),30年間,中國(guó)共生產(chǎn)了904部法制電影,其中包括132部鄉(xiāng)村題材法制電影。新時(shí)期以來(lái),鄉(xiāng)村題材法制電影不僅數(shù)量上有增長(zhǎng),其質(zhì)量、內(nèi)容、意義也都在發(fā)生著巨大的轉(zhuǎn)變,這無(wú)論對(duì)中國(guó)電影業(yè)還是對(duì)中國(guó)法制社會(huì)進(jìn)程都產(chǎn)生了不可估量的影響。 在梳理了30年間法制電影和鄉(xiāng)村題材法制電影名單與電影內(nèi)容的基礎(chǔ)上,論文先對(duì)新時(shí)期以前的中國(guó)鄉(xiāng)村題材法制電影進(jìn)行了發(fā)展脈絡(luò)的梳理,大致分為了三個(gè)階段,即1949年新中國(guó)成立前的鄉(xiāng)村題材法制電影、1949年至1966年新中國(guó)成立后的“十七年”鄉(xiāng)村題材法制電影和1967年至1976年“文化大革命”時(shí)期的法制電影。論文的正文部分從以下五個(gè)章節(jié)進(jìn)行展開： 第一章對(duì)30年間中國(guó)鄉(xiāng)村題材法制電影的發(fā)展態(tài)勢(shì)進(jìn)行了分析,從中探索其發(fā)展規(guī)律。即此30年中國(guó)鄉(xiāng)村題材法制電影發(fā)展態(tài)勢(shì)如何,這些鄉(xiāng)村題材法制電影呈現(xiàn)出什么面目,又經(jīng)歷了哪些變化。以30年鄉(xiāng)村題材法制電影名單和統(tǒng)計(jì)數(shù)據(jù)為依據(jù),可直觀地劃分為三個(gè)階段：1979—1991年鄉(xiāng)村題材法制電影的自覺創(chuàng)建期；1992—2000年是鄉(xiāng)村題材法制電影的發(fā)展變革期；2001—2008年是鄉(xiāng)村題材法制電影的繁榮多產(chǎn)期。 第二章探討鄉(xiāng)村題材法制電影為什么會(huì)發(fā)生這樣的變化,本文從中國(guó)社會(huì)30年發(fā)展變化的宏大背景中考查鄉(xiāng)村題材法制電影變化的原因。從電影體制的改革創(chuàng)新到法律體系的發(fā)展完善再到社會(huì)文化的更新進(jìn)步,透過這些角度詳解30年來(lái)鄉(xiāng)村題材法制電影的變化成因,從而觀照社會(huì)背景對(duì)傳播系統(tǒng)所帶來(lái)的影響。 第三章通過新時(shí)期鄉(xiāng)村題材法制電影的發(fā)展態(tài)勢(shì)和原因分析,探究其體現(xiàn)出的特點(diǎn)和正反兩方面的傳播作用。其特點(diǎn)主要表現(xiàn)為：創(chuàng)作過程是從自發(fā)走向自覺,新的法律產(chǎn)生既對(duì)鄉(xiāng)村題材法制電影的創(chuàng)作產(chǎn)生影響,反過來(lái)它又推動(dòng)了中國(guó)法制化進(jìn)程；講“人情”重于講“法理”；影片關(guān)注“人”勝于關(guān)注“法律”；表現(xiàn)“鄉(xiāng)村”多于表現(xiàn)“法庭”。新時(shí)期鄉(xiāng)村題材法制電影的傳播作用主要有：認(rèn)識(shí)作用、警戒作用、疏導(dǎo)作用和建設(shè)作用。同時(shí),也要規(guī)避其可能帶來(lái)的負(fù)面影響,這主要包括：誘發(fā)作用、模仿作用、破壞作用和異化作用。 第四章,從影像敘事入手,分析新時(shí)期鄉(xiāng)村題材法制電影為了實(shí)現(xiàn)其傳播作用,通常呈現(xiàn)哪種類型的“故事”?又是習(xí)慣于按照哪種組織方式“結(jié)構(gòu)”,以何種方式加以表達(dá)的? 本章共分為兩節(jié)：第一節(jié),從敘事主題的角度探索與思考新時(shí)期鄉(xiāng)村法制現(xiàn)狀。在呈現(xiàn)“鄉(xiāng)村”這一封閉空間的時(shí)候,新時(shí)期鄉(xiāng)村題材法制電影敘事主題多以展現(xiàn)“人情”與“法理”之間的矛盾；“鄉(xiāng)村”也在不斷地受到“城市”的強(qiáng)烈沖擊,“城市”成為了“鄉(xiāng)村”這個(gè)共同體逐漸解構(gòu)的一個(gè)最重要的因素,新時(shí)期鄉(xiāng)村題材法制電影既表現(xiàn)了城鄉(xiāng)之間價(jià)值觀念的沖突,也表現(xiàn)了行為方式的差異；同時(shí),新時(shí)期鄉(xiāng)村題材法制電影敘事主題還關(guān)注如何協(xié)調(diào)城鄉(xiāng)二者之間的矛盾與沖突,從而成功建立鄉(xiāng)村社會(huì)法治秩序。 第二節(jié),從新時(shí)期鄉(xiāng)村題材法制電影的敘事結(jié)構(gòu)著手,分析在電影文本表層結(jié)構(gòu)與深層結(jié)構(gòu)的支配下,中國(guó)鄉(xiāng)土社會(huì)的法治秩序是如何被建構(gòu)的。在敘事的表層結(jié)構(gòu)方面,我們將鄉(xiāng)村題材法制電影的主要要素抽取出來(lái)進(jìn)行分析,研究其相互之間的關(guān)聯(lián),分析這些相似的人物角色設(shè)置、人物功能、情節(jié)發(fā)展、矛盾沖突等是如何承擔(dān)著重要的敘事功能的；在敘事的深層結(jié)構(gòu)方面,對(duì)新時(shí)期鄉(xiāng)村題材法制電影秩序價(jià)值、正義價(jià)值的實(shí)現(xiàn)和價(jià)值的沖突與消解。 第五章考察法律文化是如何在鄉(xiāng)村題材法制電影中得以體現(xiàn)的。從主旋律影片和娛樂性影片兩個(gè)層面考察其對(duì)法律文化主導(dǎo)性和大眾性特點(diǎn)的傳播。 最后,對(duì)全文進(jìn)行總結(jié),指出鄉(xiāng)村題材法制電影在新時(shí)期30年的發(fā)展歷程中,取得了輝煌的成就,在幫助農(nóng)民法律意識(shí)的覺醒,促使鄉(xiāng)土社會(huì)法制化建設(shè)等方面發(fā)揮了至關(guān)重要的作用,它不僅真實(shí)地反映了鄉(xiāng)土社會(huì)的世態(tài)民生,而且作用于鄉(xiāng)土社會(huì),影響鄉(xiāng)土社會(huì)。要努力使鄉(xiāng)村題材法制電影的法律文化面貌符合全人類的法律價(jià)值取向,使其以獨(dú)特的民族面貌更好地走向世界。 目前國(guó)內(nèi)外還沒有專著對(duì)新時(shí)期鄉(xiāng)村題材法制電影作專門性研究,筆者在搜集了眾多第一手的鄉(xiāng)村題材法制電影資料的基礎(chǔ)上,以中國(guó)社會(huì)體制演變、電影行業(yè)體制改革及影像敘事的角度對(duì)鄉(xiāng)村題材法制電影進(jìn)行研究,具有一定的創(chuàng)新性及綜合性。
[Abstract]:The focus of this article is to study the Rural Legal Movies in China from 1979 to 2008.
In the course of the 30 years of China's reform and opening up, the number of legal films in the legal system is increasing, especially the trend of the number of legal films in rural areas. According to statistics, in the 30 years, China produced 904 legal films, including 132 rural subject films. Only a number of growth, its quality, content and significance have also undergone tremendous changes, which have an immeasurable impact on Chinese film industry and the process of Chinese legal society.
On the basis of combing the list of Legal Movies and rural subject films and the content of the film in the past 30 years, the paper first combed the development of the Chinese rural subject legal films before the new period, which is roughly divided into three stages, namely, the rural subject legal film before the founding of new China in 1949, and the new China from 1949 to 1966. The "Seventeen Year" legal film of rural subject and the legal film of the "Cultural Revolution" from 1967 to 1976 were set up in the following five chapters.
The first chapter analyzes the development trend of China's rural subject legal film in the past 30 years, and explores its development law. That is, what is the development trend of the Legal Movies of rural subjects in China in the last 30 years, what are the appearance and changes of these rural subject films, and the list of legal films and statistics of rural subject matter in 30 years On the basis of it, it can be visually divided into three stages: the period of self-conscious creation of the legal film of rural subjects from 1979 to 1991, the period of the development and transformation of the legal films of rural subjects from 1992 to 2000, and the prosperity and multi production period of the rural subject legal films from 2001 to 2008.
The second chapter discusses the changes in the legal film of rural subjects. This paper examines the reasons for the changes in the legal films of rural subjects from the grand background of the 30 year development and change of Chinese society. From the reform and innovation of the film system to the improvement of the legal system and the renewal and progress of the social culture, this paper explains the 30 years in detail through these angles. The reason for the change of Rural Legal Movies is to observe the influence of social background on the communication system.
The third chapter, through the analysis of the development situation and reasons of the rural subject legal film in the new period, explores its characteristics and the positive and negative two aspects of communication. Its characteristics are as follows: the creation process is from spontaneity to self-consciousness, and the new law produces influence on the creation of rural subject matter legal shadow, which in turn promotes the creation. In the process of China's legalization, "human feelings" is more important than "legal theory"; the film is more concerned with "people" than "law"; "rural" is more than "court". In the new period, the role of rural subject legal film is mainly: cognition, vigilance, guidance and construction. At the same time, it should avoid its possible belt. The negative effects are mainly induced, imitation, destructive and dissimilation.
The fourth chapter, starting with the image narrative, analyzes which type of "story" is usually presented in order to realize the role of the rural subject legal film in the new period, and what kind of organization "structure" is used to express it?
This chapter is divided into two sections: the first section, from the point of view of the narrative theme, explore and think about the status of rural legal system in the new period. When the closed space of "rural" is presented, the theme of rural subject legal film narrative in the new period is more to show the contradiction between "human feeling" and "legal theory"; "the countryside" is also constantly subject to the "city". The "city" has become the most important factor in the deconstruction of the "rural" community. In the new period, the rural subject legal film not only shows the conflict between the values of the urban and rural areas, but also shows the difference in the way of behavior. At the same time, the narrative theme of the rural subject legal film is also concerned about how to coordinate the urban and rural areas in the new period. The contradictions and conflicts between the two have successfully established the rule of law in rural society.
The second section, from the narrative structure of the rural subject legal film in the new period, analyzes how the rule of law of the Chinese local society is constructed under the domination of the surface structure and deep structure of the film text. In the surface structure of the narrative, we extract the main elements of the rural subject matter legal shadow and study it. The relationship between each other, the analysis of these similar characters, character function, plot development, conflict and conflict is how to bear the important narrative function; in the deep structure of the narrative, the value of the legal order of the legal system of the rural subject matter in the new period, the realization of the value of justice and the conflict and elimination of the value.
The fifth chapter examines how the legal culture is embodied in the legal movie of the country. From the two aspects of the main theme film and the entertainment film, it examines the spread of the dominant and popular characteristics of the legal culture.
Finally, the paper summarizes the full text, and points out that the rural subject legal film has made brilliant achievements in the course of 30 years' development in the new period. It plays a vital role in helping the peasant's legal consciousness awakening and promoting the legal construction of local society. It not only truly reflects the people's livelihood of the local society, but also the role of the local society. In the local society, it affects the local society. We should make efforts to make the legal and cultural features of the rural subject matter legal film conform to the legal value orientation of all human beings and make it move towards the world with a unique national appearance.
At present, there is no special study at home and abroad on the legal film of rural subject matter in the new period. On the basis of the collection of many first-hand rural subject legal film materials, the author studies the rural subject legal film with the evolution of Chinese social system, the reform of the film industry system and the angle of image narration, which has a certain creation. New and comprehensive.

【學(xué)位授予單位】：山東大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2011
【分類號(hào)】：J905

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 蘭玉玲;;城市電影的總體風(fēng)格和發(fā)展趨勢(shì)分析[J];西部廣播電視;2013年13期

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本文編號(hào)：1795132