本文關(guān)鍵詞：1990年代以來(lái)的美國(guó)反恐電影研究　出處：《南京師范大學(xué)》2013年碩士論文　論文類(lèi)型：學(xué)位論文

  更多相關(guān)文章： 反恐電影 國(guó)家意識(shí) 人物形象 敘事策略

【摘要】：“反恐”這個(gè)主題在現(xiàn)代媒介的傳播下變成了新世紀(jì)以來(lái)所有政府都不得不正視的焦點(diǎn)。作為911事件和恐怖主義的受害者,美國(guó)在經(jīng)歷陣痛和彷徨之后,做出了全面的應(yīng)對(duì)和反擊,而這也引發(fā)了和反恐相關(guān)的各種社會(huì)現(xiàn)象。反恐題材電影更加直接地反映現(xiàn)實(shí),更加受到電影人和觀(guān)眾的重視,是諸多現(xiàn)象的其中之一。反恐在現(xiàn)實(shí)和電影兩個(gè)緯度上緊密呼應(yīng)互動(dòng),成為當(dāng)代電影學(xué)值得關(guān)注的一個(gè)課題。鑒于此,本論文將上世紀(jì)末1990年代和本世紀(jì)初十年來(lái)的美國(guó)反恐題材電影故事片統(tǒng)合起來(lái)作為研究客體,綜合電影學(xué)、哲學(xué)、美學(xué)、心理學(xué)、社會(huì)學(xué)、人類(lèi)學(xué)、傳播學(xué)、政治學(xué)等多個(gè)學(xué)科的知識(shí),在電影本體理論的指導(dǎo)下,對(duì)1990年代以來(lái)的美國(guó)反恐題材電影進(jìn)行綜合論證和比較研究,參照美國(guó)政府的反恐決策,對(duì)當(dāng)代美國(guó)反恐題材電影進(jìn)行深入的解讀。通過(guò)對(duì)美國(guó)反恐題材電影的分析歸納,結(jié)合當(dāng)下美國(guó)政府的決策,我們能夠體會(huì)和鑒賞到美國(guó)反恐電影具有的獨(dú)特藝術(shù)特色,以及其創(chuàng)作方法和人物設(shè)置的演變。在這些影像中,我們能讀解到這個(gè)世界最強(qiáng)國(guó)重塑自己的決心,美國(guó)人民的心態(tài),各方人士的態(tài)度和觀(guān)點(diǎn)。另一方面,在反恐電影的大量生產(chǎn)和觀(guān)摩中,在深刻地感受到美國(guó)自身實(shí)力的強(qiáng)大和優(yōu)越的同時(shí),我們不得不承認(rèn)其國(guó)家意識(shí)形態(tài)滲入方法上的巧妙�？梢哉f(shuō),美國(guó)反恐電影中的國(guó)家意識(shí)形態(tài),對(duì)其所有反恐電影的主題思想,敘事方法,人物形象等都具有明顯或潛在的影響。 本文的第一章針對(duì)美國(guó)反恐電影中國(guó)家意識(shí)的強(qiáng)力灌輸,展現(xiàn)和分析了其帝國(guó)形象,綜合實(shí)力,以及軟實(shí)力的展示途徑；第二章則重點(diǎn)分析了美國(guó)反恐題材電影里各類(lèi)人物形象二十余年來(lái)在形象特征和功能上的演化。其中包括英雄形象,女性形象,群眾形象,反派形象四大節(jié)；第三章從宏觀(guān)的角度,對(duì)美國(guó)反恐題材電影中反思和出離的一面進(jìn)行揭示,展現(xiàn)了在美國(guó)的反恐斗爭(zhēng)中來(lái)自各界人士的思考和憂(yōu)慮,對(duì)恐怖主義和恐怖襲擊的根源進(jìn)行了探索。第四章則是從電影本體出發(fā),重點(diǎn)分析了當(dāng)代美國(guó)反恐題材電影在時(shí)代變遷中美學(xué)精神的變化,以及敘事策略的調(diào)整和改變。 本論文跟蹤和關(guān)注當(dāng)代世界電影的新發(fā)展,以宏觀(guān)的學(xué)術(shù)視野對(duì)上世紀(jì)1990年代以來(lái)的美國(guó)反恐題材電影故事片進(jìn)行多方面的理論研究,本文的創(chuàng)新點(diǎn)在于兩方面,一方面是把上世紀(jì)90年代的反恐電影和新世紀(jì)以來(lái)的反恐電影聯(lián)系起來(lái),挖掘它們之間的共性和差異,進(jìn)行橫向和縱向的分析和比較。另一方面是從正反兩個(gè)角度,結(jié)合911事件給美國(guó)政府和全社會(huì)乃至全球帶來(lái)的影響,分析了美國(guó)反恐電影中主流意識(shí)和主流意識(shí)之外的質(zhì)疑和憂(yōu)慮,通過(guò)對(duì)這些電影的影像特征,鏡頭語(yǔ)言,對(duì)白的分析,揭示出這些電影和社會(huì)現(xiàn)實(shí)之間千絲萬(wàn)縷的聯(lián)系,具有一定的時(shí)代特色性。
[Abstract]:The theme of "anti-terrorism" has become the focus of all governments in the new century under the spread of modern media. As the victims of 9 / 11 and terrorism, the United States is experiencing pain and uncertainty. Made a comprehensive response and counter-attack, and this also triggered a variety of social phenomena related to counter-terrorism. Anti-terrorist films more directly reflect the reality, more attention by film and audience. Counterterrorism is one of the many phenomena. Anti-terrorism in reality and film in the two latitudes of close interaction, become a topic worthy of attention in contemporary cinematology. In view of this. This thesis combines the American anti-terrorism films of the late 1990s and the beginning of this century as the research object, and integrates film studies, philosophy, aesthetics, psychology, sociology and anthropology. Communication, political science and other disciplines of knowledge, under the guidance of the theory of film ontology, the United States since the 1990s of the theme of anti-terrorism film comprehensive demonstration and comparative study, referring to the United States government's anti-terrorism decisions. Through the analysis of the American anti-terrorism theme movies, combined with the current decision-making of the United States government. We can appreciate and appreciate the unique artistic features of American anti-terrorism films, as well as the evolution of their creative methods and character settings. In these images, we can read the determination of the world's most powerful nation to reshape itself. On the other hand, in the mass production and observation of anti-terrorist films, we are deeply aware of the strength and superiority of the United States itself. We have to admit the cleverness of its national ideology infiltration method. It can be said that the national ideology in American anti-terrorism films, the theme of all its anti-terrorism films, narrative methods. The figure image and so on all has the obvious or the latent influence. The first chapter shows and analyzes the image of the empire, the comprehensive power, and the way of showing the soft power in view of the strong instillation of the national consciousness in the American anti-terrorism film. The second chapter focuses on the analysis of the characteristics and functions of various characters in American anti-terrorism films over the past 20 years, including heroic image, female image, mass image and villain image. The third chapter, from the macro perspective, reveals the reflection and departure of the American anti-terrorism films, and shows the thinking and worry of people from all walks of life in the American anti-terrorism struggle. This paper explores the root causes of terrorism and terrorist attacks. Chapter 4th is based on the film Noumenon, focusing on the analysis of contemporary American anti-terrorism films in the change of aesthetic spirit in the changing times. And the adjustment and change of narrative strategy. This thesis follows and pays attention to the new development of contemporary world films, and carries on the multi-sided theoretical research on the American anti-terrorism film feature films since the 1990s with the macroscopic academic visual field. The innovation of this paper lies in two aspects. On the one hand, it links the anti-terrorism film of -10s and the anti-terrorism film since the new century, and excavates the commonness and difference between them. On the other hand, from the perspective of positive and negative, combined with the 9 / 11 incident to the United States government and the entire society and even the global impact. This paper analyzes the questions and worries beyond the mainstream consciousness and the mainstream consciousness in American anti-terrorism films, and analyzes the video features, lens language and dialogue of these films. It reveals that these films are inextricably linked with social reality and have certain characteristics of the times.
【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：J909;J905

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本文編號(hào)：1428488