【摘要】：中國電影自其誕生之日起,其發(fā)展過程便與中國社會(huì)的現(xiàn)代性進(jìn)程相伴而生,早期的電影布景也是中國電影民族美學(xué)的一部分,對傳統(tǒng)空間美學(xué)形態(tài)的探索、不同形態(tài)的生成與發(fā)展、民族精神的傳承與再現(xiàn)是其美學(xué)研究的重要內(nèi)容。本文選取的時(shí)間跨度自1905—1949年,因?yàn)?這一階段的中國電影更加客觀的再現(xiàn)的歷史的巨變,展現(xiàn)出特有的中國形象與經(jīng)驗(yàn),促使這一階段的電影也成為中國現(xiàn)代性進(jìn)程重要的文化表征。本文第一章通過對這一時(shí)期電影布景發(fā)展進(jìn)程的溯源,以及在已掌握的大量相關(guān)資料的基礎(chǔ)上,針對這一時(shí)期的電影布景的創(chuàng)作觀念,按早期電影布景發(fā)展的三個(gè)不同階段,所呈現(xiàn)的不同手法及現(xiàn)象進(jìn)行舉例與分析；文章的第二章從電影“布景造景”的角度出發(fā),對中國傳統(tǒng)美學(xué)的、空間的、文化的理論進(jìn)行重新的梳理與整合,進(jìn)而指明在早期電影布景與我國傳統(tǒng)空間基礎(chǔ)上所承載的表意功能,以及與寺歌、園林、繪畫、戲劇四種傳統(tǒng)藝術(shù)形式在空間美學(xué)上的傳承與發(fā)展；第三章是立足于西方電影理論的研究,從電影敘事的隱喻理論、精神分析以及符號學(xué)來詮釋電影布景和空間形態(tài)在構(gòu)建電影空間過程中的重要性,以及在空間敘事過程中所體現(xiàn)的隱喻的方式與作用;第四章基于二三章中西方對電影空間美學(xué)及視覺隱喻的研究回溯中國早期電影,從這一時(shí)期的社會(huì)意識形態(tài),受眾的審美訴求等方面闡釋早期電影布景民族化的美學(xué)特質(zhì)形成的外在因素。
[Abstract]:Since its birth, the development process of Chinese film has been accompanied by the process of modernization of Chinese society. The early film setting is also a part of the national aesthetics of Chinese film. The exploration of traditional spatial aesthetic form, the formation and development of different forms, and the inheritance and reproduction of national spirit are the important contents of its aesthetic research. The time span selected in this paper is from 1905 to 1949, because the great changes in the history of Chinese films in this stage are more objective, showing the unique Chinese image and experience, and promoting the films in this stage to become an important cultural representation of the process of Chinese modernization. The first chapter of this paper analyzes the different techniques and phenomena of the early film setting development according to the three different stages of the early film setting development by tracing back to the origin of the development process of the film setting in this period and on the basis of a large number of relevant materials that have been mastered. The second chapter of the article recombs and integrates the theories of Chinese traditional aesthetics, space and culture from the point of view of the film "setting", and then points out the ideographic function carried on the basis of the early film setting and the traditional space of our country, as well as the inheritance and development of the four traditional art forms of temple song, garden, painting and drama in space aesthetics. The third chapter is based on the study of western film theory, from the metaphorical theory of film narrative, psychoanalysis and semiotics to explain the importance of film setting and spatial form in the process of constructing film space, as well as the way and function of metaphor in the process of spatial narrative. The fourth chapter, based on the study of film space aesthetics and visual metaphor in the second and third chapters, traces back to the early Chinese films, and explains the external factors of the formation of the aesthetic characteristics of the nationalization of the early film sets from the aspects of social ideology and the aesthetic demands of the audience in this period.
【學(xué)位授予單位】：中央美術(shù)學(xué)院
【學(xué)位級別】：博士
【學(xué)位授予年份】：2016
【分類號】：J905

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