發(fā)布時(shí)間：2018-01-19 07:08

  本文關(guān)鍵詞： 對(duì)日作戰(zhàn)電影 敘事角色 敘事模式 類型電影 意識(shí)形態(tài)　出處：《山東師范大學(xué)》2013年博士論文　論文類型：學(xué)位論文

【摘要】：第二次世界大戰(zhàn)不僅奪去了人類的生命，而且給人類留下了永遠(yuǎn)的精神傷痛，所以，通過(guò)影像真實(shí)地揭示和反思這場(chǎng)戰(zhàn)爭(zhēng)所帶來(lái)的災(zāi)難與罪惡，一直以來(lái)就是世界電影的熱門主題。作為第二次世界大戰(zhàn)中反法西斯同盟的勝利者中國(guó)和美國(guó)，兩國(guó)均參加過(guò)的對(duì)日戰(zhàn)爭(zhēng)為中美電影提供了豐富的素材來(lái)源。時(shí)至今日，中美對(duì)日作戰(zhàn)電影無(wú)論在數(shù)量還是在質(zhì)量上都有很大突破。本文通過(guò)對(duì)中美兩國(guó)對(duì)日作戰(zhàn)電影的梳理考辨和對(duì)比論析，扣住中美對(duì)日作戰(zhàn)電影中的歷史敘事方式、歷史想象與意義生產(chǎn)等核心要素，以電影史研究、文化研究和影像藝術(shù)研究相結(jié)合的視角，在整合考辨豐富的歷史史料基礎(chǔ)上，采用類型研究、比較研究、敘事學(xué)研究、文本個(gè)案研究、意識(shí)形態(tài)論析等研究方法，審視了中美兩國(guó)同題材電影中呈現(xiàn)的歷史表述的多元風(fēng)貌，力求為我國(guó)的戰(zhàn)爭(zhēng)片創(chuàng)作尤其是抗戰(zhàn)電影創(chuàng)作提供有益的借鑒和指導(dǎo)。 論文從總體上分為六章。在緒論部分，主要解釋了本論文的研究緣起、研究目的、研究方法，并對(duì)國(guó)內(nèi)外相關(guān)研究成果及國(guó)內(nèi)電影學(xué)界的研究現(xiàn)狀進(jìn)行了簡(jiǎn)要介紹。重點(diǎn)是圍繞本文的研究方法，厘清了本論文采用的敘事學(xué)、歷史分析法、類型研究和意識(shí)形態(tài)分析法等理論基礎(chǔ)。 第一章是對(duì)中美兩國(guó)的對(duì)日作戰(zhàn)電影生產(chǎn)史進(jìn)行了歷史化的梳理和分析。本章主要采取了歷史分析法和電影史綜述的研究思路。中國(guó)的對(duì)日作戰(zhàn)電影經(jīng)歷了抗戰(zhàn)電影時(shí)期、“十七年”電影時(shí)期和新時(shí)期三個(gè)時(shí)期，而且從內(nèi)容到形式更加多樣化，人物刻畫由簡(jiǎn)單到復(fù)雜，，強(qiáng)調(diào)真實(shí)，追求造型，視聽(tīng)效果越來(lái)越強(qiáng)，制作水平逐漸由低到高不斷提升。美國(guó)的對(duì)日作戰(zhàn)電影從一開(kāi)始的戰(zhàn)時(shí)紀(jì)錄電影時(shí)代，到五六十年代的戰(zhàn)爭(zhēng)史詩(shī)時(shí)代和七八十年代的沉寂階段，最后到現(xiàn)在世紀(jì)之交的商業(yè)大片時(shí)代，其電影基調(diào)一直以反戰(zhàn)主題為主，從《大閱兵》、《西線無(wú)戰(zhàn)事》到《辛德勒的名單》、《細(xì)細(xì)的紅線》等，都是通過(guò)描寫戰(zhàn)爭(zhēng)給人類帶來(lái)的深重災(zāi)難來(lái)反思?xì)v史的。 第二章、第三章是對(duì)中美對(duì)日作戰(zhàn)電影的電影文本進(jìn)行分析評(píng)價(jià)，主要采用了電影敘事學(xué)的研究方法，對(duì)相關(guān)電影文本中的敘事角色（行動(dòng)元）和敘事模式進(jìn)行了比較研究。其中，第二章借鑒了俄國(guó)形式主義文論家普洛普的七種劇情角色的研究方法，選取了加害者（敵人）、受害者、抗?fàn)幷�、幫手等敘事角色進(jìn)行比較分析。中美兩國(guó)電影文本中的敘事角色既呈現(xiàn)出了歷時(shí)性的變化，同時(shí)在對(duì)比中又呈現(xiàn)出較大的差異。第三章則從電影敘事學(xué)的另一重要角度——敘事模式出發(fā)，評(píng)析了中美對(duì)日作戰(zhàn)電影中的諸種敘事模式，如“戰(zhàn)爭(zhēng)勝利”敘事模式、“英雄成長(zhǎng)”敘事模式、愛(ài)情敘事模式、家國(guó)敘事模式、小分隊(duì)作戰(zhàn)敘事模式、集團(tuán)作戰(zhàn)敘事模式等等，它們均以個(gè)性化的敘事建構(gòu)形式展現(xiàn)出影片獨(dú)特的審美風(fēng)格，暗示著多樣化的價(jià)值訴求和主題旨?xì)w，滿足人們不同層面的審美接受視野。中美電影都有運(yùn)用這些敘事模式建構(gòu)故事情節(jié)的鮮明痕跡，并且表現(xiàn)出不同國(guó)別的政治習(xí)慣、文化語(yǔ)境、國(guó)民意識(shí)和個(gè)體精神對(duì)敘事模式的深層支配功能。通過(guò)對(duì)這些敘事模式的不同表現(xiàn)進(jìn)行比較分析，力圖剖析其背后的生成原因及其規(guī)律所在。 第四章則從類型電影的角度對(duì)中美對(duì)日作戰(zhàn)電影進(jìn)行比較。之所以選擇這一角度和分析方法，一是因?yàn)橥}材電影呈現(xiàn)出較為鮮明的類型化傾向，二是因?yàn)槊绹?guó)好萊塢電影的類型化生產(chǎn)對(duì)美國(guó)對(duì)日作戰(zhàn)電影產(chǎn)生了至關(guān)重要的影響，而這種影響正是中美同題材電影呈現(xiàn)出不同風(fēng)格的重要原因。對(duì)此進(jìn)行類型化的比較分析，可以相對(duì)客觀公正地找出解決中國(guó)抗戰(zhàn)電影的電影魅力、商業(yè)性或者娛樂(lè)性功能嚴(yán)重不足這一問(wèn)題的答案。這一答案簡(jiǎn)而言之，就是中國(guó)電影如何借鑒好萊塢戰(zhàn)爭(zhēng)類型電影的類型化特征和創(chuàng)作模式。 第五章主要針對(duì)兩國(guó)對(duì)日作戰(zhàn)電影的核心即戰(zhàn)爭(zhēng)場(chǎng)景的影像再現(xiàn)進(jìn)行比較分析。主要采用了電影文本解讀論析法，重點(diǎn)選取了兩種電影中具有代表性的三部風(fēng)格相近的影片進(jìn)行影像比較分析。一是分析了對(duì)日作戰(zhàn)電影的戰(zhàn)爭(zhēng)場(chǎng)景的豐富性，二是分析了構(gòu)成戰(zhàn)爭(zhēng)場(chǎng)景影像的五大元素——景別、運(yùn)動(dòng)鏡頭、色彩、煙火造型和主客觀視點(diǎn)在運(yùn)用和形式層面的異同，從而進(jìn)一步揭示出：中美兩種電影的不同戰(zhàn)爭(zhēng)影像雖然受到了兩國(guó)不同電影制作技術(shù)尤其是特效技術(shù)的影響，但是這種區(qū)別更多根源于電影的創(chuàng)作觀念、戰(zhàn)爭(zhēng)價(jià)值觀和創(chuàng)作主旨。 第六章主要以意識(shí)形態(tài)為分析角度，分析研究對(duì)日作戰(zhàn)電影這一意識(shí)形態(tài)形式的生產(chǎn)與傳播，并探索兩國(guó)對(duì)日作戰(zhàn)電影生產(chǎn)的深層文化結(jié)構(gòu)、文化語(yǔ)境與社會(huì)心理。最后本章提出在抗戰(zhàn)電影創(chuàng)作中我國(guó)電影人應(yīng)該不斷探索現(xiàn)代性意識(shí)形態(tài)與大眾美學(xué)的平衡與結(jié)合，努力突破抗戰(zhàn)電影中傳統(tǒng)意識(shí)形態(tài)束縛，從而實(shí)現(xiàn)民族戰(zhàn)爭(zhēng)電影創(chuàng)作與現(xiàn)代性意識(shí)形態(tài)傳播的互動(dòng)。 結(jié)語(yǔ)部分，在前面六章進(jìn)行比較研究的基礎(chǔ)上，總結(jié)論證了美國(guó)對(duì)日作戰(zhàn)電影體現(xiàn)在電影機(jī)制和電影本質(zhì)上的認(rèn)識(shí)、類型化的敘事角色和敘事模式以及對(duì)現(xiàn)代性意識(shí)形態(tài)的引入和傳播等方面的創(chuàng)作經(jīng)驗(yàn)，并且提出了對(duì)我國(guó)抗戰(zhàn)電影的期許。
[Abstract]:The Second World War not only deprived of human life, and left to the human spirit forever pain, therefore, disasters and evils brought reflection and reveal the true image through the war, has always been a hot topic in the world film. As the anti fascist alliance in the Second World War and the United States Chinese winner the war against Japan, both countries participated in providing a source of abundant materials for the Chinese and American movies. Today, American film war against Japan in terms of quantity or have great breakthrough in quality. By reviewing the study and comparison of the two countries fight against the Japanese movie analysis on Sino US historical narrative way fighting in the movie, the historical imagination and the significance of the core factors of production, in film studies, cultural studies and visual art from the combination of integration in the rich history of history The material on the basis of comparative study of the type of research, narrative research, case study, text, Ideology Analysis and other research methods, examines the two countries with multiple features presented in the film representation of history, and strive for the creation of the Chinese war films especially provide a useful reference and guidance during the anti Japanese war movie creation.
This thesis is divided into six chapters. In the introduction part, mainly explains the research background, the research purpose, research methods are briefly introduced and the related research results at home and abroad and the domestic film academic research. This paper focuses on the way around, clarify the research adopted the narrative study, historical analysis, theoretical basis and ideological analysis of type research method.
The first chapter is the fight against the Japanese movie production history of the two countries and analyzes the history. This chapter mainly adopts the historical analysis method and research ideas of film history review. Chinese waragainst Japan experienced a movie film of the Anti Japanese War period, the three period of seventeen years "period and the new period, and from the content to the form of a more diverse characters from simple to complex, emphasize the truth, the pursuit of style, visual effect is more and more strong, the production level is gradually rising from low to high. The fight against the Japanese movie from the beginning of the wartime record film era, the silence to stage the 50s and 60s war epic era and 70s and 80s. Finally, up to now the turn of the century era of blockbuster movies, the tone has been dominated by Anti War theme, from the big parade, on the Schindler list > > and < < < > in the west, the thin red line, all It is a reflection of history by describing the deep disaster brought to mankind by war.
The second chapter, the third chapter is the movie text on the Sino US war against Japan film analysis and evaluation, mainly adopts the research methods of narrative film, the film version of the narrative role (action element) were studied and the narrative pattern. Among them, the second chapter draws on the research methods of seven kinds of plot character of Russian formalism the home of Propp, selected the perpetrators (enemies), victims, protesters, etc. for helper narrative role analysis. The two countries in the movie text narrative role not only presents a diachronic change, at the same time contrast and shows great differences. The third chapter: from the narrative mode another important aspect of the film narrative, analyzes on the narrative modes on Sino US war in the movies, such as "war" narrative mode, "hero" narrative mode, narrative mode of love, " Small unit combat narrative mode, narrative mode, narrative mode of group operations and so on, they are personalized narrative form to show the unique aesthetic style of the film, suggesting that the diversification of the value and purpose of the theme, meet people of different levels of aesthetic vision. American movies have used these narrative model clear traces of the story, and show different national political habits, cultural context, deep national consciousness and the individual spirit of the narrative pattern of the dominant function. Through the different manifestations of these narrative modes were compared and analyzed, the causes and rules to analyze behind it.
The fourth chapter compares the Sino US war against Japan from the perspective of the film type film. The reason for choosing this angle and analysis methods, one is because the same movie showing a tendency is more distinctive, because two types of production in the United States Hollywood film has an important effect on the fight against the Japanese movie, and this effect is an important cause of Sino US with the films show different styles. This type of comparative analysis, can be relatively objective and fair solution China war film movie charm, commercial or recreational function of a serious shortage of the answer to this question. The answer is in short, how to draw lessons from the Hollywood war film China the type of film type characteristic and creation mode.
The fifth chapter mainly aims at the core of our fight against the Japanese film the war scene reproduction of the images were compared and analyzed. Mainly used on film text interpretation method, we selected two representative films in three similar style to the film image. A comparative analysis is the analysis of the richness of the fight against the Japanese movie the war scene, the two is the analysis of the composition of the five elements of war scene image, scene, camera movement, color, and other fireworks in the use of subjective and objective viewpoint and the similarities and differences of the level of form, which further reveals that different war images the two film despite the different film making technology especially special effects technology however, this distinction is more rooted in the film creation idea, war values and the theme of it.
The sixth chapter mainly ideological analysis, production and dissemination of this form of Ideology Analysis on Japanese war movie, and to explore the deep cultural structures of both the fight against the Japanese film production, cultural context and social psychology. Finally, this chapter puts forward that our country should be in the war movie film creation constantly explore the modernity ideology and mass aesthetic balance and integration, to break the shackles of the traditional ideology of war film, so as to realize the interaction of national war film creation and dissemination of ideology of modernity.
In the conclusion part, a comparative study based on the previous six chapters, summarize the demonstration of the American war against Japan in the movie film embodies cognition mechanism and the nature of the film on the type of narrative and narrative mode and role of modern ideology of the introduction and dissemination of the creative experience, and put forward to China's Anti Japanese War the film's expectations.

【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2013
【分類號(hào)】：J905

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 杜穎;新時(shí)期抗戰(zhàn)題材影視劇娛樂(lè)化現(xiàn)象研究[D];沈陽(yáng)師范大學(xué);2014年

本文編號(hào)：1443131