本文關(guān)鍵詞：新時(shí)期以來中國大陸電影的“行走敘事”研究　出處：《山東師范大學(xué)》2015年碩士論文　論文類型：學(xué)位論文

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【摘要】：新時(shí)期以來，，許多中國大陸電影將攝影機(jī)瞄準(zhǔn)道路，以敘述當(dāng)代中國人在旅途中的遭遇為故事模式，并以旅行故事中角色的行為、心理狀態(tài)來表情達(dá)意。針對(duì)這一現(xiàn)象，本文創(chuàng)新性地提出“行走敘事”這一概念。概括來講，“行走敘事”就是以順應(yīng)時(shí)代為電影拍攝的著眼點(diǎn)，時(shí)刻以旅行中的所見所聞為出發(fā)點(diǎn)，審視當(dāng)下社會(huì)現(xiàn)狀和人的價(jià)值信仰。更重要的是，“行走敘事”使得看似普通的電影情節(jié)具有了陌生化的審美意義。 本文對(duì)新時(shí)期以來中國大陸電影“行走敘事”的研究，即通過對(duì)三十多年來具有“行走敘事”影片的具體分析，總結(jié)歸納出其共性特征并加以詳細(xì)闡述，以力圖豐富“行走敘事”的理論內(nèi)容。本文正文共分為四個(gè)部分：第一部分，新時(shí)期以來中國大陸電影“行走敘事”的發(fā)展歷程。分別從20世紀(jì)80年代至90年代初、20世紀(jì)90年代中期至新世紀(jì)、新世紀(jì)至今三個(gè)階段，對(duì)“行走敘事”的發(fā)展歷程進(jìn)行分析。第二部分，中國大陸電影“行走敘事”的主題特征。本章從追憶過往與駐足緬懷、皈依情懷與回歸故土、反思與成長的心靈旅程三個(gè)方面對(duì)“行走敘事”的主題特征進(jìn)行論析，并結(jié)合相關(guān)影片所顯現(xiàn)出來的主題內(nèi)涵，把握“行走敘事”的主題意蘊(yùn)。第三部分，中國大陸電影“行走敘事”的敘事特征。本章同樣是采用文本分析的方式，從非連貫的敘事結(jié)構(gòu)、非情節(jié)敘事和非封閉性結(jié)局這三方面，對(duì)“行走敘事”中的敘事特征進(jìn)行了歸納分析。第四部分，中國大陸電影“行走敘事”的問題和對(duì)策。通過對(duì)當(dāng)前“行走敘事”不足的分析，有助于發(fā)掘“行走敘事”在中國影壇乃至理論文化界的意義。
[Abstract]:Since the new era, many mainland Chinese films have aimed cameras at the road, taking the story of contemporary Chinese on the journey as a story model and the behavior of the characters in the travel story. In view of this phenomenon, this paper innovatively puts forward the concept of "walking narrative". Generally speaking, "walking narrative" is the focus of film shooting to conform to the times. From the point of view of what we see and hear in travel, we can examine the present social situation and people's value belief. More importantly, Walking narration makes the seemingly ordinary movie plot have a strange aesthetic significance. This article studies the Chinese mainland film "Walking narration" since the new period, that is, through the concrete analysis of more than 30 years'"Walking narrative" film, summarizes its common characteristics and elaborates in detail. In order to enrich the theoretical content of "Walking narrative", this text is divided into four parts: the first part. From 1980s to 90s, from the middle of 90s to the new century, from 1980s to 90s, there are three stages of the development of the Chinese mainland film "Walking narrative", which is from the middle of 90s to the new century. The second part is the theme of the Chinese mainland film "Walking narrative". This chapter from the memory of the past and stop to remember, conversion and return to their homeland. Introspection and growth of the spiritual journey of the three aspects of the "walking narrative" of the thematic characteristics of the analysis, and combined with the theme of the film revealed connotation, grasp the theme of "walking narrative" implication. Part three. This chapter also adopts the way of text analysis, from the three aspects of discontinuous narrative structure, non-plot narrative and non-closed ending. This paper summarizes and analyzes the narrative characteristics of Walking narration. Part 4th, the problems and countermeasures of Walking narration in the mainland of China. Through the analysis of the insufficiency of the current Walking narrative. It is helpful to explore the significance of Walking narration in Chinese film circle and even in theoretical and cultural circles.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：J905

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本文編號(hào)：1403888