本文選題：中國當(dāng)代電影 + 敘事倫理　； 參考：《山東師范大學(xué)》2016年博士論文

【摘要】：敘事倫理是藝術(shù)倫理學(xué)的一個(gè)分支,也是衡量作品價(jià)值的基本尺度。中國當(dāng)代電影(1949年至今)在不同時(shí)期存在著不同的敘事倫理病癥。學(xué)者們大都把目光聚焦在影片的倫理內(nèi)涵闡述上,這些研究顯然無法切中其敘事倫理的病理。本文首次將研究目標(biāo)對(duì)準(zhǔn)這一學(xué)術(shù)空白領(lǐng)域,目的在于全面認(rèn)識(shí)和闡明中國當(dāng)代電影的敘事倫理,揭示其問題的本質(zhì),為中國電影倫理效果的提升提供借鑒。本文以“陶冶情操、凈化心靈、啟迪思想”為良好倫理效果的標(biāo)準(zhǔn),以中國建國以來六十多年的敘事性電影為主要研究材料,以系統(tǒng)觀為研究的主要指導(dǎo)思想,綜合運(yùn)用實(shí)證研究、思辨研究、比較研究三種研究方法,對(duì)中國當(dāng)代電影的敘事倫理進(jìn)行探究。論文從敘事概念、倫理概念等的梳理中推導(dǎo)出電影的敘事倫理研究的范疇。基于敘事概念,論文確定了“電影表達(dá)了什么樣的倫理觀(即敘事的內(nèi)容要素)、怎樣表達(dá)(即敘事的形式要素)、為什么會(huì)有這樣的倫理表達(dá)(即成因,也是交流層次)”的研究邏輯。在此基礎(chǔ)上,論文結(jié)合中國當(dāng)代電影的敘事倫理特點(diǎn),分?jǐn)⑹聜惱韮?nèi)涵、人物、形式、局限、成因及個(gè)案六章展開具體分析。中國當(dāng)代電影根據(jù)倫理關(guān)系主要有集體倫理、個(gè)體倫理和生態(tài)倫理三個(gè)敘事重點(diǎn)。電影在這三個(gè)維度上體現(xiàn)出了著重點(diǎn)不同的倫理理念。電影中的集體倫理尤其強(qiáng)調(diào)國家、道德、正義的崇高地位;其個(gè)體倫理則展現(xiàn)出對(duì)生命、情感、理想和苦悶的關(guān)懷;其生態(tài)倫理一方面是消耗物質(zhì)的生產(chǎn)主義、節(jié)儉主義、消費(fèi)主義,另一方面是在物質(zhì)面前退讓的環(huán)保主義。中國當(dāng)代電影在不同的時(shí)代對(duì)這三種敘事倫理有不同的側(cè)重,且各種敘事倫理內(nèi)涵在不同的時(shí)代有不同的精神內(nèi)核。相比集體倫理和個(gè)體倫理,中國當(dāng)代電影中的生態(tài)倫理并不獨(dú)立,它常常依附于集體倫理來獲得倫理定位,因此其敘事倫理人物類型劃分以集體倫理和個(gè)體倫理為標(biāo)準(zhǔn)。集體倫理標(biāo)準(zhǔn)下有倫理升華的人物和倫理懸置的人物兩大類。前者中有倫理完善的人物、倫理蛻變的人物、不合時(shí)宜的奉獻(xiàn)者,這些人物都為其集體倫理信仰做出了利他選擇。后者中有反倫理的人物、倫理墮落的人物、倫理游移的人物,這些人物則不同程度地游離于集體倫理的規(guī)范效力外。個(gè)體倫理標(biāo)準(zhǔn)下是倫理自由的人物,其中又有個(gè)體倫理的求索者、個(gè)體倫理的碰壁者、個(gè)體倫理的突圍者、個(gè)體倫理的享有者幾類,他們的個(gè)體倫理行動(dòng)和境遇彰顯了一定的時(shí)代特征。中國當(dāng)代電影的敘事倫理不僅承載于敘事的內(nèi)容要素上,還潛藏在敘事的形式要素中。電影中的特殊時(shí)空意象、情節(jié)結(jié)構(gòu)、畫面色彩都蘊(yùn)含著豐富的倫理信息。這些倫理信息的形成有兩個(gè)來源,一是敘事形式本身的倫理傾向,二是特定文化賦予敘事形式的倫理意義。中國當(dāng)代電影特殊時(shí)空意象中的古代宮廷、民國時(shí)期大宅院、當(dāng)下奢華場所分別指示著傳統(tǒng)倫理的展現(xiàn)、封建舊倫理的批判、消費(fèi)主義的宣示。情節(jié)結(jié)構(gòu)中的“單行式”、“并行式”、“輪回式”、“迂回式”分別對(duì)應(yīng)著前進(jìn)、強(qiáng)化、恒定、突破的倫理進(jìn)程。畫面色彩中的紅色、綠色、黑色、白色分別代表著倫理的沖突、自由、固守和更新。中國當(dāng)代電影的敘事倫理意蘊(yùn)宏大,表現(xiàn)豐富多彩,卻有著嚴(yán)重的局限。其三大局限分別是電影倫理表達(dá)的主題先行、個(gè)人視角和泛自由化。中國當(dāng)代電影起始于政治倫理遮天蔽日的時(shí)代,主題先行的敘事倫理局限由此扎根并揮之不去。政治的時(shí)代結(jié)束后,中國電影主題先行的敘事倫理誘因由政治擴(kuò)展到名、利。倫理表達(dá)的個(gè)人視角濫觴于80年代,第五代導(dǎo)演和第六代導(dǎo)演在其職業(yè)生涯的初期都陷入其中,為世人留下了偏激的集體倫理批判和夸大的個(gè)體倫理愁苦。倫理表達(dá)的泛自由化泛濫于新世紀(jì),電影中倫理事件的雜亂離奇和倫理內(nèi)涵的含混不明是其主要征象。這三大局限各有特點(diǎn),相互之間又有著交叉重疊,它們都阻礙了電影良好倫理效果的實(shí)現(xiàn)。中國當(dāng)代電影的敘事倫理的以上表現(xiàn)和局限主要受文化、政治、經(jīng)濟(jì)的影響。中國傳統(tǒng)倫理思想和西方近現(xiàn)代倫理思想等文化因素,寬松性政治、左傾性政治和開放性政治等政治因素,社會(huì)經(jīng)濟(jì)發(fā)展?fàn)顟B(tài)和電影市場經(jīng)濟(jì)等經(jīng)濟(jì)因素,通過以不同的方式影響創(chuàng)作者而作用于電影的敘事倫理。中國當(dāng)代電影的敘事倫理的得失也是創(chuàng)作者的成敗,電影的敘事倫理局限最終可追溯到創(chuàng)作者的人性問題。因此,加強(qiáng)電影創(chuàng)作者的職業(yè)倫理建設(shè)是提升中國當(dāng)代電影的敘事倫理的必由之路。提升中國當(dāng)代電影的敘事倫理勢在必行,又任重道遠(yuǎn)。
[Abstract]:Narrative ethics is a branch of art ethics and a basic yardstick to measure the value of works. Chinese contemporary films (from 1949 to now) have different narrative ethical symptoms in different periods. Most scholars focus on the ethical connotation of the film. These studies are obviously unable to cut into the pathology of their narrative ethics. The aim of this study is to aim at this academic blank field. The purpose of this study is to fully understand and clarify the narrative ethics of Chinese contemporary films, to reveal the essence of its problems and to provide reference for the improvement of the ethical effect of Chinese films. This article takes "edify sentiment, purify the mind and enlighten the thought" as the standard of good ethical effect, six since the founding of China. The narrative films of more than 10 years are the main research materials, the main guiding ideology of the system view, the comprehensive application of empirical research, the speculative research, and the comparative study of three research methods. The narrative ethics of Chinese contemporary films are explored. The thesis derives the narrative ethics of the film from the narrative concept and the ethical concept. On the basis of the concept of narration, the thesis defines "what kind of Ethics (that is, the content of the narrative), how to express (the form elements of the narrative), and why there is such a logic of ethical expression (that is, cause, and the level of communication). On this basis, the thesis combines the narrative ethical characteristics of Chinese contemporary films, The six chapters of Chinese contemporary film are mainly collective ethics, individual ethics and ecological ethics in three narrative points. The film embodies the different ethical ideas in these three dimensions. The collective ethics in the film emphasizes the country, especially the country. The sublime status of morality and justice; its individual ethics shows the concern for life, emotion, ideal and depressing; its ecological ethics, on the one hand, consumes material production, frugality, consumerism, and on the other hand is the environmentalism in the face of material retreat. Chinese contemporary films have three kinds of narrative ethics in different times. The same emphasis, and all kinds of narrative ethical connotations have different spiritual core in different times. Compared with collective ethics and individual ethics, the ecological ethics in Chinese contemporary films is not independent. It often attaches to collective ethics to obtain ethical orientation, so the classification of narrative ethics is based on collective ethics and individual ethics. There are two categories of ethical sublimation characters and ethical suspensory characters under the collective ethical standards. The former includes ethical perfect characters, ethical metamorphosis characters, untimely devotees, and these characters have made altruistic choices for their collective ethical beliefs. The latter includes anti ethical human beings, ethical depraved characters, and ethical wandering characters. Some characters are free from the standard effect of collective ethics. Under the individual ethical standards, they are the characters of ethical freedom, among which there are individual ethics, individual ethics, individual ethics, and individual ethics. The ethical actions and circumstances of their individual ethics show certain characteristics of the times. The narrative ethics of Chinese contemporary film not only bears on the elements of the narrative content, but also is hidden in the form elements of the narrative. The special time and space image, plot structure and picture color in the film contain abundant ethical information. The formation of these ethical information has two sources, one is the ethical tendency of the narrative form itself, and the two is the specific text. The ancient court in the special time and space image of the Chinese contemporary film, the big house in the period of the Republic of China, the big house in the Republic of China, the present extravagant places indicate the display of the traditional ethics, the critique of the old feudal ethics, the declaration of consumerism, the "single line", the "style", "the cycle", the "roundabout" in the plot structure. It corresponds to the ethical progress of advance, strengthening, constant and breakthrough. The red, green, black, and white in the color of the picture represent the ethical conflict, freedom, adherence and renewal. The narrative ethics of Chinese contemporary film has a grand, colorful and strict limitation. The three major limitations are the themes of the film ethics expression respectively. The beginning of Chinese contemporary films begins in the era of political ethics blotting out the sun, and the narrative ethical limitations of the theme are rooted and lingering. After the end of the political era, the narrative ethics of China's film themes originated from political expansion to name, and the personal perspective of ethical expression originated in 80s, The fifth generation directors and the sixth generation directors have been trapped in the early career, leaving the world a radical collective ethical criticism and exaggerated individual ethical distress. The pan liberalisation of ethical expression in the new century, the confusion of the ethical events in the film and the ambiguity of ethical connotation are its main signs. These three limitations Each has its own characteristics and overlaps each other. They all obstruct the realization of the good ethical effect of the film. The above performance and limitations of the narrative ethics of Chinese contemporary films are mainly influenced by culture, politics, and economy. Chinese traditional ethics and western modern ethical thinking, such as cultural factors, loose politics, leftist politics, and so on. The political factors such as open politics, the state of social economic development and the economic factors such as the film market economy, influence the narrative ethics of the film by different ways. The success or failure of the narrative ethics of Chinese contemporary films is also the success of the creators. The narrative ethical limitations of the film can be traced back to the human nature of the creator. Therefore, strengthening the construction of the professional ethics of the film creator is the only way to improve the narrative ethics of the contemporary Chinese film. It is imperative to promote the narrative ethics of the contemporary Chinese film, and it is a long way to go.
【學(xué)位授予單位】：山東師范大學(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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