本文關(guān)鍵詞：后現(xiàn)代語境下的婁燁電影研究　出處：《浙江理工大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 婁燁 “后現(xiàn)代” 后現(xiàn)代電影 “第六代”電影人 影像

【摘要】：“后現(xiàn)代”思潮與后工業(yè)時(shí)代相適應(yīng)，產(chǎn)生于20世紀(jì)60年代的西方資本主義發(fā)達(dá)國家。“后現(xiàn)代”與大眾文化的合謀產(chǎn)生了后現(xiàn)代電影。在全球化復(fù)雜的文化空間和話語的大背景下，中國影壇出現(xiàn)一批新生代電影人，在對“第五代”電影作品的批判性繼承中，渴望突破傳統(tǒng)經(jīng)典，自覺不自覺的選擇了“后現(xiàn)代”風(fēng)格電影，與西方后現(xiàn)代文化進(jìn)行了呼應(yīng)和對話，這就是電影評論界所說的“第六代”電影人。本論文聚焦于隸屬“第六代”電影人、頗具“后現(xiàn)代”風(fēng)格的婁燁的電影創(chuàng)作，力圖揭示當(dāng)代電影中“后現(xiàn)代”特征的形成背景，分析婁燁電影中的后現(xiàn)代影像實(shí)踐，總結(jié)在后現(xiàn)代語境下中國電影未來的發(fā)展趨勢和傾向，也借此論證電影應(yīng)具備的藝術(shù)價(jià)值和社會(huì)意義。 論文首先對后現(xiàn)代藝術(shù)的起源和主要特征進(jìn)行闡述，引出電影作為藝術(shù)的后現(xiàn)代特性。接著論述與探究在后現(xiàn)代思潮傳入中國時(shí)，后現(xiàn)代電影的“中國策略”及婁燁等“第六代”導(dǎo)演作品中的后現(xiàn)代傾向。 其次，基于對后現(xiàn)代電影特征的分析，挖掘婁燁電影作品中的影像創(chuàng)新。從敘事風(fēng)格到影片結(jié)構(gòu)，從人物視角選擇到新場景意象的確立，從鏡頭的獨(dú)特表達(dá)到后期剪輯的碎片式拼湊，總結(jié)出婁燁影像實(shí)踐的后現(xiàn)代性表現(xiàn)。 再次，通過對婁燁電影中后現(xiàn)代影像因素分析，探討在后現(xiàn)代語境下婁燁電影對現(xiàn)實(shí)生活的感悟，對大眾青年文化的展現(xiàn)和生命意義的傳達(dá)。 最后，基于上述對婁燁影像的整體性分析，總結(jié)在后現(xiàn)代語境下中國電影未來的發(fā)展趨勢和傾向，為后現(xiàn)代精神的傳承做出貢獻(xiàn)，借此論證電影應(yīng)具備的藝術(shù)價(jià)值和社會(huì)意義。 本論文試圖通過對婁燁電影中后現(xiàn)代因素的分析，對后現(xiàn)代電影的中國實(shí)踐進(jìn)行反思和總結(jié)，，對一直以來影像模糊的婁燁電影有一清晰評判和解讀，使得具有“婁氏風(fēng)格”的影像成為中國邊緣文化的代表作，為中國底層現(xiàn)實(shí)社會(huì)提供了影像文獻(xiàn)，引起人們對后現(xiàn)代語境下電影的發(fā)展傾向和現(xiàn)實(shí)題材獨(dú)立電影的思考。
[Abstract]:The trend of thought of "post-modern" adapts to the post-industrial era. In 1960s, the western capitalist developed countries. "Postmodernism" and mass culture collusion produced post-modern film. Under the background of globalization and complex cultural space and discourse. A group of new generation filmmakers appeared in the Chinese film world. In the critical inheritance of the "Fifth Generation" film works, they longed to break through the traditional classics and chose the "post-modern" style film consciously or unconsciously. This paper focuses on the "6th generation" filmmakers, which is called "6th generation" filmmakers in the film critics. Lou Ye's film creation with a "post-modern" style tries to reveal the background of the formation of "post-modern" features in contemporary films and to analyze the practice of post-modern images in Lou Ye's films. This paper summarizes the trend and tendency of the future development of Chinese films in the post-modern context, and demonstrates the artistic value and social significance of the films. This paper first expounds the origin and main characteristics of post-modern art, and then discusses and explores the post-modern trend of thought in China when the post-modern trend of thought is introduced into China. The postmodern film's China Strategy and the postmodern tendency in the works of the 6th generation directors such as Lou Ye. Secondly, based on the analysis of the characteristics of post-modern films, this paper explores the image innovation in Lou Ye's film works, from narrative style to film structure, from the perspective of characters to the establishment of new scene image. From the unique expression of the lens to the piecemeal patchwork of the later editing, the post-modernity performance of Lou Ye's image practice is summarized. Thirdly, through the analysis of the factors of the post-modern image in Lou Ye's films, this paper probes into the perception of real life in Lou Ye's films in the post-modern context, the display of mass youth culture and the conveyance of the meaning of life. Finally, based on the overall analysis of Lou Ye's image, this paper summarizes the trend and tendency of the future development of Chinese film in the post-modern context, and contributes to the inheritance of the post-modern spirit. In order to demonstrate the film should have the artistic value and social significance. This thesis attempts to reflect on and summarize the Chinese practice of the post-modern film through the analysis of the post-modernism factors in Lou Ye's films, and to have a clear judgment and interpretation of Lou Ye's film which has always been blurred. It makes the image with "Lou's style" become the representative work of Chinese marginal culture, and provides the image literature for the bottom realistic society of China. It causes people to think about the development tendency of the film and the independent film with realistic theme in the post-modern context.
【學(xué)位授予單位】：浙江理工大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J911

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