本文關(guān)鍵詞：新世紀(jì)以來中國古裝歷史題材電影的后現(xiàn)代表征研究　出處：《吉林大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 古裝歷史題材電影 后現(xiàn)代主義 商業(yè)電影

【摘要】：電影是以影像為基礎(chǔ)與核心的藝術(shù)，影像可以留下一段歷史，同時(shí)也可以創(chuàng)造一段歷史，電影與歷史的關(guān)系就是如此微妙。電影從來都不是一門單純的藝術(shù)，在20世紀(jì)社會(huì)的發(fā)展中電影發(fā)揮了巨大作用，其影響力滲透到政治、軍事等眾多領(lǐng)域。電影的成長也是一部時(shí)代的發(fā)展史，電影見證了一段社會(huì)歷史的風(fēng)貌，見證了一個(gè)國家的興衰榮辱，見證了一代人的集體記憶，電影這一藝術(shù)形式記錄了歷史，為后人留下寶貴的資料，同時(shí)也改變著現(xiàn)實(shí)中的我們。中國文化講究“以古鑒今，以古喻今”，雖然當(dāng)代中國與古代中國社會(huì)形態(tài)已大不相同，但一脈相承的文化仍舊是中華民族的根本，我們?nèi)匀荒軓臍v史中得到啟示獲取智慧，也因此，，古裝歷史題材電影不管是承載著娛樂的功能還是肩負(fù)著教化的重任都非常值得我們?nèi)ヌ剿骱脱芯俊?上世紀(jì)六十年代西方出現(xiàn)的后現(xiàn)代主義思潮在今日全球化的背景下已經(jīng)滲透進(jìn)我國文化的各個(gè)領(lǐng)域，在電影理論研究中后現(xiàn)代主義也是重要理論之一。在后現(xiàn)代主義語境下，中國古裝歷史題材電影作為中國主流電影和商業(yè)電影的一種重要類型，所體現(xiàn)出的具有時(shí)代化的特征很值得研究，比如顛覆和反抗的精神、多元化的追求、消費(fèi)主義、歷史感的消失等等。對(duì)此類電影今后的發(fā)展道路甚至對(duì)于中國主流商業(yè)電影今后的趨向都有著重要的意義。 本文旨在研究中國古裝歷史題材電影在新世紀(jì)這個(gè)大背景下，在改革開放對(duì)外交流日益加深的大環(huán)境下，在西方文化與電影理論的沖擊下，在好萊塢進(jìn)口大片制造的壓力下，在后現(xiàn)代文化語境下所展現(xiàn)出的表征。本文第一章以電影與歷史的關(guān)系為切入點(diǎn)，進(jìn)行簡(jiǎn)單的有關(guān)電影本性的研究；第二章簡(jiǎn)述中國古裝歷史題材電影的基本狀況，包括界定、發(fā)展脈絡(luò)和新世紀(jì)以來此類電影流行的原因；本文的重點(diǎn)章節(jié)是第三章和第四章，第三章以后現(xiàn)代主義文化研究為基礎(chǔ)，研究此類影片的意識(shí)形態(tài)、敘事觀念、英雄主義的轉(zhuǎn)變、電影的功能、文化傳承等方面所展現(xiàn)出的后現(xiàn)代特征；第四章研究后現(xiàn)代語境下此類電影的美學(xué)特征，一是在視覺風(fēng)格方面展現(xiàn)出視覺本位和超現(xiàn)實(shí)的美學(xué)傾向，二是在類型性方面表現(xiàn)出多種類型元素雜糅的特點(diǎn)，三是在人物塑造方面對(duì)傳統(tǒng)歷史人物或經(jīng)典人物的顛覆，四是在意義的深度方面表現(xiàn)出的平面化。
[Abstract]:Film is based on the image and the core of the art, video can leave a section of history, but also can create a history, the relationship between film and history is so delicate. Film has never been a pure art. In 20th century, the development of the society played a great role in the film, its influence penetrated into the political, military and many other fields. The growth of the film is also the history of the development of the era, the film witnessed a period of social history. Witnessed the rise and fall of a country, witnessed the collective memory of a generation, the art form of film recorded history, leaving valuable information for future generations. At the same time, it also changes us in reality. Chinese culture pays attention to "learning from the past and now, referring to the past and the present", although the social formation of contemporary China and ancient China has been greatly different. But the same culture is still the root of the Chinese nation, we can still get wisdom from history, and therefore. Whether it is the function of entertainment or the important task of enlightenment, it is worth our exploration and research. In -40s, the post-modernism trend of thought appeared in the West has penetrated into every field of Chinese culture under the background of globalization today. Post-modernism is also one of the important theories in the study of film theory. In the context of post-modernism, the Chinese antiquated historical film is an important type of Chinese mainstream film and commercial film. The characteristics embodied by the times are worth studying, such as the spirit of subversion and resistance, the pursuit of pluralism, and consumerism. The disappearance of the sense of history is of great significance to the future development of this kind of films, even to the future trend of the mainstream commercial movies in China. The purpose of this paper is to study the historical theme of ancient Chinese films under the background of the new century, under the background of the deepening exchanges with the outside world, under the impact of western culture and film theory. Under the pressure of Hollywood's production of imported blockbusters and in the context of post-modern culture, the first chapter of this paper focuses on the relationship between film and history, and makes a brief study on the nature of film; The second chapter briefly describes the basic situation of Chinese ancient costume historical films, including the definition, the development of the context and the reasons for the popularity of such films since the new century; The main chapters of this paper are the third and 4th chapters, the third chapter studies the ideology, the narrative concept, the heroism transformation and the function of the film on the basis of the post-modernism culture research. Cultural inheritance and other aspects of the post-modern characteristics; Chapter 4th studies the aesthetic characteristics of this kind of films in the post-modern context. One is to show the visual standard and surreal aesthetic tendency in the visual style, the other is to show the characteristics of various types of elements in the genre. The third is the subversion of traditional historical characters or classical characters in the aspect of character shaping, and the fourth is the flatness of the depth of meaning.
【學(xué)位授予單位】：吉林大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J905

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