本文選題：王家衛(wèi) + 愛情��； 參考：《河北師范大學》2017年碩士論文

【摘要】：愛情是王家衛(wèi)電影所要表現(xiàn)的永恒主題,與傳統(tǒng)愛情電影中所表現(xiàn)的兩情相悅不同,王家衛(wèi)總是把愛情中殘酷的一面赤裸裸地展現(xiàn)在觀眾面前,讓觀眾明白人們對美好愛情的想象與愛情本身有著巨大差異。本文以王家衛(wèi)電影中的愛情作為研究對象,主要從愛情人物、愛情世界、愛情獨特性、獨特的藝術表達方式四個方面來進行闡釋。第一章,將電影中的人物形象歸為男女兩類,在此基礎上又根據(jù)性格將人物進行細分,男性人物主要分為“隱忍克制的憂郁型男性”、“放蕩自私而又懦弱的男性”、“簡單直接跟隨本心的男性”三類;女性人物主要分為“溫婉賢惠癡情等待式女性”、“潑辣且執(zhí)著的敢愛敢恨式女性”、“簡單樂觀開朗的陽光型女孩”三類,在此基礎上又通過典型的事例來具體分析人物各自的性格特征。第二章,根據(jù)王家衛(wèi)電影中不同的題材抽取了較有代表性的四部影片:《花樣年華》、《東邪西毒》、《春光乍泄》、《2046》,對四部影片的情感世界進行挖掘,主要從“愛情漩渦中個體的‘自我救贖與毀滅’”、“愛情信仰的丟失與找尋”、“愛的相處:探戈式的愛情角力”、“愛的發(fā)生具有不可抗性”四個方面來進行闡述。第三章,探討王家衛(wèi)電影中愛情的獨特性,主要從單向度的愛這種獨特的情感狀態(tài)以及人物孤獨的精神氣質兩方面入手。首先,獨特的情感狀態(tài)主要從“孤獨者的另類尋愛”以及“錯位或錯失的愛的循環(huán)”兩方面進行分析;其次,在分析人物孤獨的精神氣質時揭示了人物在“兩難的選擇與孤獨的宿命”中艱難掙扎的生存狀態(tài),其次又分析了導致人物孤獨的深層原因:“港人文化身份認同焦慮”。第四章,探討電影獨特的藝術表達方式。首先,在獨特的時空表現(xiàn)中突出兩個方面:“以情感為主導的個人化‘想象時間’”以及“寓意化的情緒空間”;其次,電影中的色彩是“主觀化、情緒化”的,光影是“表現(xiàn)型”的;第三,以“九七”香港回歸為界,電影中的攝影風格經歷了前后兩次大的轉變:從“暴烈迷亂”轉向“沉滯舒緩”。
[Abstract]:Love is the eternal theme of Wang Jiawei movies. Unlike the traditional love movies, Wang Jiawei always shows the cruel side of love in front of the audience. Let the audience understand that there is a huge difference between people's imagination of good love and love itself. This article takes the love in the Wang Jiawei movie as the research object, mainly from the love character, the love world, the love unique, the unique artistic expression way carries on the explanation from four aspects. In the first chapter, the characters in the film are classified into two categories: male and female. On this basis, the characters are subdivided according to their characters. The male characters are mainly divided into "restrained melancholy men" and "debauchery, selfish and cowardly men". There are three types of "simple and direct male"; female characters are mainly divided into three categories: "gentle and virtuous women waiting for love", "fierce and persistent dares to love and hate women", and "simple optimistic and cheerful sunshine girls." On this basis, through typical examples to analyze the characteristics of the characters. In the second chapter, according to the different themes of Wang Jiawei films, four representative films are selected: "in the mood for Love", "Evil and West Poison", "Spring Light", < 2046 >, and excavate the emotional world of the four films. It is mainly described from the following four aspects: "self redemption and destruction" in the whirlpool of love, "the loss and search of love belief", "the coexistence of love: tango love struggle" and "the occurrence of love is irresistible". The third chapter discusses the uniqueness of love in Wang Jiawei movies, mainly from two aspects: the unique emotional state of one-dimensional love and the lonely spiritual temperament of the characters. First, the unique emotional state is mainly analyzed from two aspects: "the lonely person's alternative love" and "the cycle of misplaced or missed love"; secondly, In the analysis of the solitude of the characters, the author reveals the living conditions of the characters struggling in the dilemma of choice and the fate of loneliness, and then analyzes the deep reasons that lead to the loneliness of the characters: "Hong Kong people's cultural identity anxiety". The fourth chapter discusses the unique artistic expression of the film. First of all, there are two outstanding aspects in the unique space-time performance: "emotional personalization 'imagining time'" and "implied emotional space"; secondly, the color in the film is "subjective, emotional". Light and shadow are "expressive"; third, with the return of Hong Kong in 1997, the cinematographic style in the film has undergone two major changes: from "violent confusion" to "stagnation and relief."
【學位授予單位】：河北師范大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J911

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