本文選題：底層空間 + 底層群體��； 參考：《山西師范大學(xué)》2016年博士論文

【摘要】：對(duì)中國早期電影(1905-1937)中底層空間的建構(gòu)問題進(jìn)行闡述,實(shí)際上是探討早期電影導(dǎo)演所關(guān)注焦點(diǎn)與影像,本文試圖從底層空間的視角發(fā)掘中國早期電影是如何闡釋作為景觀的上海在現(xiàn)代化進(jìn)程中所扮演的功能性角色及意義,進(jìn)而揭示出在視聽語言下的深層敘事策略與意義建構(gòu)。這種研究視角難免會(huì)以犧牲電影發(fā)展史的線索與脈絡(luò)為代價(jià),而是將中國早期電影作為一個(gè)整體,以問題的形式提出,并在分析具體問題的過程中,將重組早期電影中常規(guī)的思考脈絡(luò),而將重點(diǎn)放在對(duì)民族、性別、權(quán)力以及意識(shí)形態(tài)等關(guān)鍵問題的探討,由此重新反觀中國早期電影,突顯以底層空間分析問題的重要意義,并由真實(shí)空間的存在上升到想象空間建構(gòu),由視聽語言的畫面空間上升到人物主體的精神空間�？偠灾�,以早期電影作為探究的主要對(duì)象,闡述電影生產(chǎn)與底層空間建構(gòu)之間的密切關(guān)聯(lián),尤其梳理出底層空間建構(gòu)的歷史過程及其所呈現(xiàn)的時(shí)代特征,已成為本文所論及的重要議題。而本文以空間理論來反思其與電影文本及其影像闡述互動(dòng)為主來探討底層空間的實(shí)踐性特征及空間理論建構(gòu)等相關(guān)問題,為進(jìn)而闡述早期電影的生產(chǎn)與底層空間構(gòu)建的內(nèi)在關(guān)聯(lián)奠定理論基礎(chǔ)。第一章主要論述中國早期電影底層空間建構(gòu)的整體特征和美學(xué)風(fēng)格,通過透析早期電影中所凸顯的“底層意識(shí)”,以此管窺城市與鄉(xiāng)村、自我與他者的二元對(duì)立關(guān)系中的“底層消費(fèi)”與“底層生活”,尤其在注重個(gè)體經(jīng)驗(yàn)傳達(dá)的同時(shí),開拓“底層敘事”模式。第二章主要探究早期電影中底層空間常見的視覺空間元素,主要包括農(nóng)村、城市及其街道、里弄、棚戶區(qū)、監(jiān)獄等等形態(tài)多樣化的空間圖景,凸顯歷史語境下底層群體的生活狀態(tài)及其所蘊(yùn)涵的思想精神,并由此挖掘其獨(dú)特的文化意蘊(yùn)。第三章主要考察早期電影中的底層形象建構(gòu)并闡釋早期電影中的空間與權(quán)力之間的關(guān)系,主要以早期電影塑造的鏡像形象為對(duì)象,從底層空間去重新審視鄉(xiāng)村農(nóng)民、城市底層、移民及女性的形象在底層空間的塑造,進(jìn)而以此透視底層空間與上海文化之間的密切關(guān)系。第四章主要闡述中國早期電影中底層空間景觀的書寫對(duì)國家民族共同體建構(gòu)穩(wěn)定、和諧的社會(huì)秩序的支撐作用,并以此確認(rèn)其文化身份,尤其以當(dāng)時(shí)具有較大影響的左翼電影為主要研究對(duì)象,輻射相關(guān)的相同主題的其他影像,分析當(dāng)時(shí)特殊時(shí)期下的空間建構(gòu)與文化生產(chǎn),尤其闡釋底層空間的意義建構(gòu)與權(quán)力生產(chǎn)之間的關(guān)系。第五章主要探討早期電影的城市空間重構(gòu)與權(quán)力生產(chǎn)之間的密切關(guān)聯(lián),從而描述早期電影的現(xiàn)代性譜系特征,標(biāo)識(shí)電影在現(xiàn)代性城市空間生產(chǎn)中的坐標(biāo)位置,為更好地理解電影與現(xiàn)代性的關(guān)系提供參照的獨(dú)特視角。通過研究,本文認(rèn)為城市以空間的載體出現(xiàn),具有典型的符號(hào)意義,而這些符號(hào)往往成為區(qū)分社會(huì)階層的標(biāo)桿與尺度,建構(gòu)并強(qiáng)化這城市中階級(jí)的區(qū)隔與劃分。早期電影中經(jīng)常出現(xiàn)不同階層的人物游走于不同的空間,而不同的空間亦暗示人物的機(jī)遇與命運(yùn)。上海周邊村鎮(zhèn)的移民在工業(yè)革命的裹挾下被迫從農(nóng)村走入城市,他們走進(jìn)城市,卻沒有融入城市的生活;他們?yōu)槌鞘械慕ㄔO(shè)做出巨大貢獻(xiàn),卻無法擁有平等的權(quán)力來分享城市的文明結(jié)晶。在此其中,空間建構(gòu)無疑起到不可替代的作用,而將底層群體與空間配置聯(lián)系在一起的正是權(quán)力及權(quán)力的支配。資本主義的擴(kuò)張使中國面臨空前的災(zāi)難,列強(qiáng)對(duì)空間的爭奪和占有成為中華民族共同面對(duì)的困境。從空間角度凸顯民族危亡,將更有助于民眾深刻認(rèn)識(shí)空間的危機(jī)與主權(quán)的淪喪,空間的裂變成為當(dāng)時(shí)文化生產(chǎn)的主題與表征的對(duì)象,國家空間的重組也成為文化空間表征的焦點(diǎn)。作為文化的重要代表,早期電影成為喚醒民族意識(shí)、強(qiáng)化民族認(rèn)同、建構(gòu)民族空間的重要方式和手段。與此同時(shí),銀幕下對(duì)國家空間的建構(gòu)影響著早期電影的創(chuàng)作與生成,使早期電影的創(chuàng)作與民族危難之際的呼吁形成共振。作為一種媒介喚起民眾共同的民族想象,電影通過空間的建構(gòu)揭示出空間已然成為政治統(tǒng)治的工具,它喚起了人民對(duì)領(lǐng)土、主權(quán)爭奪的強(qiáng)烈意識(shí),使民族主義情懷加強(qiáng),強(qiáng)化國家凝聚力與身份認(rèn)同感。在民族主義情懷下,早期電影通過影響底層空間的建構(gòu)實(shí)現(xiàn)民族理念的傳播、民族意識(shí)的加強(qiáng)、民族自信的樹立以及民族信念的堅(jiān)定。因此,民族意識(shí)的傳遞、民族空間的重塑,成為早期電影重點(diǎn)表現(xiàn)的主題。
[Abstract]:This paper expounds the construction of the underlying space in the early Chinese film (1905-1937). In fact, it is the focus and image of the early film director. This article tries to explore the role and significance of the interpretation of the early Chinese film from the perspective of the bottom space to explain the functional role and significance of Shanghai as a landscape in the modernization drive. The deep narrative strategy and meaning construction under visual and audio-visual language are shown at the expense of the clues and chores at the expense of the history of the film, but the Chinese early films are put forward as a whole, in the form of a problem, and in the process of analyzing the specific problems, the conventional thinking vein in the early films will be reorganized. Focus on the discussion of the key issues of nationality, gender, power and ideology, and then review the Chinese early films to highlight the importance of the underlying space analysis, and rise from the existence of real space to the imaginary space construction, from the visual space of audio-visual language to the spiritual space of the main body. Taking the early film as the main object of inquiry, this paper expounds the close relationship between the film production and the underlying space construction, especially combing out the historical process of the underlying space construction and the characteristics of the times, which has become an important topic in this article. The first chapter mainly discusses the overall characteristics and aesthetic style of the bottom space construction of the early Chinese films, through dialysis in the early films, the first chapter is to discuss the inner relationship between the early film production and the underlying space construction. The "bottom consciousness" shows the "bottom consumption" and "bottom life" in the two yuan antagonism between the city and the country, the self and the other, and, in particular, to develop the "bottom narrative" mode, while paying attention to the transmission of the individual experience. The second chapter mainly explores the common visual space elements in the underlayer space of the early films, mainly including the visual space elements. In the countryside, the city and its streets, the lanes, the shantytowns, the prisons, and so on, the diversity of the spatial patterns, highlighting the state of life and the ideological and spiritual implications of the bottom groups in the historical context, and thus excavating their unique cultural implications. The third chapter mainly examines the underlying image in the early films and explains the space in the early films. The relationship between power is mainly based on the image image of the early film, and reexamines the rural farmers, the bottom of the city, the immigrant and the female image in the bottom space from the bottom space, and then the close relationship between the bottom space and the Shanghai culture. The fourth chapter mainly expounds the bottom space in the early Chinese films. The writing of the landscape is the supporting role of the national community to build a stable and harmonious social order, and to confirm its cultural identity, especially in the left wing films, which have great influence at the time as the main research object, and other images of the same theme of radiation, and analyze the space construction and cultural production in the special period. It explains the relationship between the meaning construction of the underlying space and the power production. The fifth chapter mainly discusses the close relationship between the urban space reconstruction and the power production of the early films, thus describing the characteristics of the modern genealogy of the early films, identifying the coordinates of the film in the modern urban space production, so as to better understand the film and the present. Through the study, this article holds that the cities appear with the carrier of space and have typical symbolic meanings, and these symbols often become the benchmarks and scales of the social stratum, and construct and strengthen the partition and division of the class in this city. In different spaces, different spaces also imply the opportunity and fate of the characters. The immigrants in the villages and towns around Shanghai were forced to enter the city from the rural areas under the industrial revolution. They went into the city, but did not integrate into the city's life; they made great contributions to the construction of the city, but they had no equal power to share the city's text. There is no doubt that space construction plays an irreplaceable role in this, and it is the power and power that links the bottom group with the space configuration. The expansion of capitalism makes China face an unprecedented disaster, and the competition and possession of space become the common predicament of the Chinese nation. The national crisis will be more helpful to the people to deeply understand the crisis of space and the decline of sovereignty. The fission of space becomes the object of the theme and characterization of cultural production at that time. The reorganization of the national space also becomes the focus of the cultural space. As an important representative of the culture, the early films become the awakening of the national consciousness, the strengthening of national identity and the construction of the people. At the same time, the construction of the national space under the screen influenced the creation and creation of the early films, and made the creation of the early films resonate with the appeal of the national crisis. As a medium to arouse the common national imagination, the construction of the film through space has revealed that space has become a politics. The tool of rule arouses the people's strong sense of sovereignty over the territory and sovereignty, strengthens the nationalist feelings, strengthens the national cohesion and identity sense. In the nationalist sentiment, the early films have realized the spread of the national concept through the construction of the underlying space, the strengthening of the consciousness of the people, the establishment of national confidence and the national belief. Therefore, the transmission of national consciousness and the reconstruction of national space have become the main themes of early films.

【學(xué)位授予單位】：山西師范大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2016
【分類號(hào)】：J905
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本文編號(hào)：1810773