當(dāng)代中國電影中的“中產(chǎn)階層”影像
發(fā)布時(shí)間：2018-11-19 15:06
【摘要】：本文通過電影文本探討1979年改革開放之后,“中產(chǎn)階層”形象從無到有的產(chǎn)生過程,電影在建構(gòu)與表達(dá)這個(gè)群體時(shí)所呈現(xiàn)的變化軌跡�！爸挟a(chǎn)階層”是指在市場資源配置與社會(huì)縱向流動(dòng)過程中形成的、介乎于上層階級(jí)與下層階級(jí)之間的“中間階層”,其包含的群體在不同時(shí)期可以變化；同時(shí)社會(huì)意識(shí)中的“中產(chǎn)階層”是官方話語、媒介話語和藝術(shù)文化實(shí)踐共同建構(gòu)的產(chǎn)物。運(yùn)用這一概念可以透視改革開放三十多年來中國社會(huì)結(jié)構(gòu)的變遷與社會(huì)分化,分析的過程關(guān)涉到八九十年代的社會(huì)轉(zhuǎn)型、思潮迭起的文化氛圍、新意識(shí)形態(tài)形成、大眾文化、全球化和消費(fèi)主義等諸多現(xiàn)象。論文第一章講述中國語境中“中產(chǎn)階層”的內(nèi)涵�！爸挟a(chǎn)階層”概念被官方接納、被媒體和學(xué)界宣揚(yáng),顯示了改革開放帶來的意識(shí)形態(tài)話語體系的變化。藝術(shù)創(chuàng)作領(lǐng)域?qū)τ凇爸挟a(chǎn)”群體的理解和創(chuàng)作實(shí)踐,是參與“中產(chǎn)”一詞文化建構(gòu)的重要力量。第二章論述了八十年代電影中對(duì)于中產(chǎn)群體的壓制態(tài)度,本章追溯了八十年代電影中階層變遷、個(gè)人主體意識(shí)覺醒、自我價(jià)值實(shí)現(xiàn)這些核心概念被書寫的歷程。這一時(shí)期的社會(huì)意識(shí)形態(tài)沒有給商業(yè)經(jīng)濟(jì)、個(gè)人欲望以合理位置,力圖改變個(gè)人階層位置的主人公被放在傳統(tǒng)道德、愛國主義的對(duì)立面,在市場經(jīng)濟(jì)中合法獲利的個(gè)體工商業(yè)者也未獲得社會(huì)肯定。第三章討論的是九十年代市場經(jīng)濟(jì)興起這一社會(huì)轉(zhuǎn)型時(shí)期,電影作品對(duì)“中產(chǎn)”群體的復(fù)雜態(tài)度。經(jīng)濟(jì)變革帶來的社會(huì)秩序調(diào)整使知識(shí)分子、商業(yè)精英、政府干部、個(gè)體商販、有閑“頑主”等群體重新站位,個(gè)人主體意識(shí)確立,物質(zhì)利益為先的價(jià)值觀得到認(rèn)同,知識(shí)分子退居邊緣。第四章探討中國電影進(jìn)入WTO、面臨全球化和市場化的背景下,“中產(chǎn)階層”形象及其附帶的“中產(chǎn)趣味”,成為主流商業(yè)電影的表現(xiàn)對(duì)象。這類電影“想象”了中產(chǎn)群體享樂與炫耀的生活方式,雖然獲得了票房豐收,卻失去了直面中國現(xiàn)實(shí)的能力。
[Abstract]:This paper discusses the process of "middle class" image coming into being from scratch after the reform and opening up in 1979, and the changing track of film in constructing and expressing this group. The "middle class" refers to the middle class between the upper class and the lower class, which is formed in the process of the allocation of market resources and the vertical flow of society, and the groups contained therein can be changed in different periods. At the same time, the middle class in social consciousness is the result of the construction of official discourse, media discourse and artistic and cultural practice. By using this concept, we can have a perspective on the changes and social differentiation of China's social structure since the reform and opening up for more than 30 years. The process of analysis relates to the social transformation in the 1980s and 1990s, the successive cultural atmosphere of the ideological trend, the formation of new ideology, and the mass culture. Globalization and consumerism and many other phenomena. The first chapter is about the connotation of middle class in Chinese context. The concept of "middle class" has been officially accepted, promoted by the media and academic circles, which shows the change of ideological discourse system brought by reform and opening up. The understanding and creation practice of the middle class in the field of art creation is an important force to participate in the construction of the middle class culture. The second chapter discusses the repressive attitude towards the middle class in the 1980s. This chapter traces the process of writing the core concepts in the 1980s, such as the change of stratum, the awakening of individual subject consciousness and the realization of self value. The social ideology of this period did not give commercial economy, personal desire with reasonable position, trying to change the position of the individual class of the protagonist was placed on the traditional moral, the opposite of patriotism, In the market economy, the legal profit of individual businessmen have not been recognized by the society. The third chapter discusses the complicated attitude of the movie works to the middle class during the social transition period of market economy rising in the 1990s. The adjustment of the social order brought about by the economic change has enabled the intellectuals, the business elite, the government cadres, the individual traders, the idle "persistent masters" and other groups to regain their positions, establish the consciousness of the individual subject, and recognize the value of material interests first. Intellectuals retreated to the edge. The fourth chapter discusses that under the background of globalization and marketization of Chinese film entering WTO, the image of "middle class" and its accompanying "middle class interest" become the performance object of mainstream commercial film. This kind of film "imagine" the life style that the middle class group enjoys and shows off, although has won the box-office harvest, has lost the ability to face up to the reality of China.
【學(xué)位授予單位】：華東師范大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2016
【分類號(hào)】：J905
，
本文編號(hào)：2342707
[Abstract]:This paper discusses the process of "middle class" image coming into being from scratch after the reform and opening up in 1979, and the changing track of film in constructing and expressing this group. The "middle class" refers to the middle class between the upper class and the lower class, which is formed in the process of the allocation of market resources and the vertical flow of society, and the groups contained therein can be changed in different periods. At the same time, the middle class in social consciousness is the result of the construction of official discourse, media discourse and artistic and cultural practice. By using this concept, we can have a perspective on the changes and social differentiation of China's social structure since the reform and opening up for more than 30 years. The process of analysis relates to the social transformation in the 1980s and 1990s, the successive cultural atmosphere of the ideological trend, the formation of new ideology, and the mass culture. Globalization and consumerism and many other phenomena. The first chapter is about the connotation of middle class in Chinese context. The concept of "middle class" has been officially accepted, promoted by the media and academic circles, which shows the change of ideological discourse system brought by reform and opening up. The understanding and creation practice of the middle class in the field of art creation is an important force to participate in the construction of the middle class culture. The second chapter discusses the repressive attitude towards the middle class in the 1980s. This chapter traces the process of writing the core concepts in the 1980s, such as the change of stratum, the awakening of individual subject consciousness and the realization of self value. The social ideology of this period did not give commercial economy, personal desire with reasonable position, trying to change the position of the individual class of the protagonist was placed on the traditional moral, the opposite of patriotism, In the market economy, the legal profit of individual businessmen have not been recognized by the society. The third chapter discusses the complicated attitude of the movie works to the middle class during the social transition period of market economy rising in the 1990s. The adjustment of the social order brought about by the economic change has enabled the intellectuals, the business elite, the government cadres, the individual traders, the idle "persistent masters" and other groups to regain their positions, establish the consciousness of the individual subject, and recognize the value of material interests first. Intellectuals retreated to the edge. The fourth chapter discusses that under the background of globalization and marketization of Chinese film entering WTO, the image of "middle class" and its accompanying "middle class interest" become the performance object of mainstream commercial film. This kind of film "imagine" the life style that the middle class group enjoys and shows off, although has won the box-office harvest, has lost the ability to face up to the reality of China.
【學(xué)位授予單位】：華東師范大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2016
【分類號(hào)】：J905
，
本文編號(hào)：2342707
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