本文關(guān)鍵詞： 泰國(guó)新浪潮電影 藝術(shù)風(fēng)格 審美特征 文化內(nèi)涵 類型電影　出處：《上海戲劇學(xué)院》2016年博士論文　論文類型：學(xué)位論文

【摘要】：近年來,泰國(guó)電影以蓬勃發(fā)展的態(tài)勢(shì)成為繼日本、印度、中國(guó)(包括香港和臺(tái)灣地區(qū))、伊朗、韓國(guó)之后,亞洲電影的又一新興代表。本論文擬梳理1950年代起至今泰國(guó)電影創(chuàng)作的發(fā)展脈絡(luò)和審美演進(jìn),結(jié)合歷史語(yǔ)境初步總結(jié)泰國(guó)電影的藝術(shù)特征及其所蘊(yùn)含的社會(huì)文化內(nèi)涵,并嘗試思考泰國(guó)民族電影在世界電影格局中的整體建構(gòu)。本文把1950年代以來的泰國(guó)電影劃分為三個(gè)歷史階段,圍繞如何表達(dá)現(xiàn)實(shí)生活這一藝術(shù)創(chuàng)作的根本問題,從敘事手法、視聽風(fēng)格、文化內(nèi)涵等方面入手,分析各個(gè)歷史階段代表作品的藝術(shù)風(fēng)格及其體現(xiàn)出的創(chuàng)作觀念和審美追求,對(duì)泰國(guó)電影美學(xué)觀念構(gòu)建的嬗變之路進(jìn)行一次初步的梳理和歸納。第一個(gè)歷史階段是1950-1970年代。當(dāng)時(shí)16毫米膠片是泰國(guó)電影的主流制作模式,現(xiàn)場(chǎng)配音則是電影放映的主要方式,與這種生產(chǎn)方式相聯(lián)系的低成本類型片定義了泰國(guó)電影偏重鄉(xiāng)村童話式的審美趣味。第二個(gè)歷史階段是1970-1990年代中期。經(jīng)歷政局動(dòng)蕩和經(jīng)濟(jì)起飛,泰國(guó)社會(huì)逐步從完全的農(nóng)業(yè)社會(huì)向城市化過渡。反映在泰國(guó)電影中的社會(huì)思辨和審美追求實(shí)現(xiàn)了質(zhì)的飛躍,現(xiàn)代化的電影思維與泰國(guó)古典審美范式找到了融合的模式,“哀而不傷”的鄉(xiāng)愁情結(jié)成為泰國(guó)電影崛起于世界民族電影之林的標(biāo)志。第三個(gè)歷史階段是1997年至今。隨著泰國(guó)電影向城市中產(chǎn)階級(jí)意識(shí)形態(tài)的成功過渡,商業(yè)主流電影的類型創(chuàng)新異軍突起。青春、恐怖、歷史、犯罪等類型不斷細(xì)分化,尤以喜劇元素與鬼片和青春片的嫁接最為成功。其鮮明的視聽風(fēng)格、獨(dú)特的美感體驗(yàn)、富有民族特色的文化內(nèi)涵,成為泰國(guó)電影融合本土文化精神與當(dāng)代電影觀念的范例。非主流電影的藝術(shù)創(chuàng)造則以其大膽的觀念實(shí)驗(yàn)、多樣的類型風(fēng)格、深刻的文化思辨,逐步奠定并擴(kuò)大在國(guó)內(nèi)外主流影評(píng)界的影響力。泰國(guó)電影的崛起看似一蹴而就,但其20年來穩(wěn)步提升的產(chǎn)業(yè)活力、藝術(shù)水平和文化影響證明了這絕非偶然,而是建立在一個(gè)穩(wěn)固的基礎(chǔ)之上。拋開硬件設(shè)施與國(guó)內(nèi)外扶植資源的外部條件不談,在創(chuàng)作觀念上致力于找到文化價(jià)值觀的共享空間,在尊重類型特征的前提下不斷追求極致化的視聽風(fēng)格與引領(lǐng)性的觀念表達(dá),恐怕才是泰國(guó)電影保持良好發(fā)展勢(shì)頭的最重要的一塊基石,是來自于內(nèi)部的源動(dòng)力。這對(duì)于華語(yǔ)電影的進(jìn)一步發(fā)展也許能起到積極的啟示作用。
[Abstract]:In recent years, Thai films have become more and more popular after Japan, India, China (including Hong Kong and Taiwan, Iran and South Korea). This paper intends to comb the development and aesthetic evolution of Thai film creation from 1950s to present, and summarize the artistic characteristics of Thai film and its social and cultural connotations in combination with the historical context. And try to think about the whole construction of Thai national film in the world film pattern. This paper divides the Thai film since 1950s into three historical stages, focusing on how to express real life, the fundamental problem of artistic creation, from the narrative technique. Starting with the audio-visual style, cultural connotation and other aspects, this paper analyzes the artistic style of the representative works in various historical stages and their creative ideas and aesthetic pursuits. This paper makes a preliminary combing and summing up of the evolution of Thai film aesthetic concept. The first historical stage was 1950-1970s. At that time, 16mm film was the mainstream production mode of Thai film, and live dubbing was the main way of film projection. The low-cost type of film associated with this mode of production defines Thai cinema's emphasis on rural fairytale taste. The second stage of history was in the mid-1970-1990s. Thai society has gradually transitioned from a complete agricultural society to an urbanized society. The social speculation and aesthetic pursuit reflected in Thai films have achieved a qualitative leap. Modern film thinking and Thai classical aesthetic paradigm have found a fusion model. The nostalgia complex of "sorrow but not hurt" has become the symbol of the rise of Thai film in the world national film forest. The third historical stage is 1997 to the present. With the successful transition of Thai films to the ideology of the urban middle class, The types of commercial mainstream films are emerging. The types of youth, terror, history, crime and so on continue to differentiate, especially the comedy elements and ghost film and youth film grafting is the most successful, its distinctive audio-visual style, unique aesthetic experience, The cultural connotation with national characteristics has become an example of Thai film combining the local cultural spirit with the contemporary film concept. The artistic creation of the non-mainstream film is based on its bold idea experiment, various styles, profound cultural speculation, The rise of Thai films seems to have been accomplished overnight, but the industry's vitality, artistic level and cultural impact over the past 20 years have proved that this is no accident. It's based on a solid foundation. Regardless of the hardware and the external conditions for nurturing resources at home and abroad, we are committed to finding a shared space for cultural values in terms of creative ideas. Under the premise of respecting the characteristics of the type, the pursuit of extreme audio-visual style and leading concept expression is probably the most important foundation stone for the Thai film to maintain its good development momentum. This may have a positive effect on the further development of Chinese-language films.
【學(xué)位授予單位】：上海戲劇學(xué)院
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2016
【分類號(hào)】：J901
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本文編號(hào)：1552728