本文關(guān)鍵詞： 邪典電影 午夜場 亞文化 美學(xué)特征　出處：《曲阜師范大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：邪典電影，即是“Cult movie”的中文釋義，通常也被直譯做Cult電影或者是Cult片，而在2003年的《環(huán)球銀幕畫刊》雜志中首次將“Cult movie”譯作“邪典電影”之后，這一譯法很快被廣泛接受和流傳。邪典電影，并不是一種類型，也不需要有一個封閉的定義，全面的認(rèn)知邪典電影應(yīng)該探析：被奉為“邪典”的影片所具有的特征，邪典電影帶來了怎樣的一種文化現(xiàn)象，邪典電影從“午夜場”中一路走來又得到了怎樣的發(fā)展。對具有代表性的邪典電影及其引發(fā)的邪典電影現(xiàn)象進(jìn)行研究，探求那些成為“邪典”的影片所具有的美學(xué)特質(zhì)，及其背后那些值得我們探究的價值。 本文通過以下幾個部分對邪典電影進(jìn)行研究： 首先，本文通過獨(dú)立電影、地下電影和剝削電影三個概念分別與邪典電影進(jìn)行比較，發(fā)現(xiàn)它們之間所存在的聯(lián)系，并從中得出邪典電影所具有的特征，而不是把邪典電影置于一個封閉的定義之中，也不把邪典電影理解為是一種電影類型。 其次，把邪典電影置于歷史的長河，，縱向研究具有代表性的邪典電影，通過對具有代表性的邪典電影進(jìn)行分析研究，發(fā)現(xiàn)成為邪典的電影往往是對于社會亞文化的展現(xiàn)，影片中展現(xiàn)的題材往往是極端的不被大眾所接受的，或是在影片的形式上與傳統(tǒng)電影的手法大相徑庭。所以，這不僅僅是對于邪典電影發(fā)展歷史的簡單梳理，更是以這些具有代表性的影片為參照，更加深入地對邪典電影進(jìn)行一次較為全面的認(rèn)知與探討。 第三，本文的第三章和第四章分別從邪典電影本體的角度分析了邪典電影的美學(xué)特征和多重價值。這一部分所進(jìn)行的研究是對邪典電影更加深層次的認(rèn)知。在這一部分，本文對于邪典電影的風(fēng)格和內(nèi)容等美學(xué)特征進(jìn)行了研究，同時也關(guān)注了邪典電影之于電影世界和社會文化的價值，而這也是認(rèn)識這一電影世界的另類為何吸引著小眾影迷為之瘋狂的重要途徑。 通過這幾個部分的分析研究，明確認(rèn)識到對于邪典電影的認(rèn)知應(yīng)該用開放與發(fā)展的眼光，更要正確理解邪典電影所引發(fā)的文化現(xiàn)象和邪典電影的誕生與發(fā)展與社會文化之間的關(guān)系。
[Abstract]:Evil films, or "Cult movie", are often interpreted in Chinese as Cult movies or Cult films. In 2003, "Cult movie" was first translated into "evil film" in the "Universal screen Pictures" magazine, this translation method was quickly accepted and widely spread. It is not a kind of type, nor need to have a closed definition, a comprehensive understanding of evil film should be analyzed: the film is regarded as "evil" with the characteristics of the film, evil classic film brought what kind of cultural phenomenon. What kind of development has the evil classic movie got from "midnight field". This paper studies the typical evil classic film and the phenomenon of the evil classic film caused by it. Explore the aesthetic characteristics of the films that become the "Evil Canon", and the value behind them that we should explore. This article carries on the research through the following several parts to the evil canonical movie: First of all, through the independent film, underground film and exploitative film three concepts are compared with the evil classic film, find out the relationship between them, and get the characteristics of the evil classic film. It is not a closed definition of evil film, nor is it understood as a kind of film. Secondly, put the evil classic film in the long river of history, longitudinal study of the representative evil classic film, through the analysis of the representative evil classic film. It is often found that the films that become the cults are the manifestation of the social subculture, and the subjects displayed in the films are often extremely unacceptable to the public. Or in the form of the film and the traditional film methods are very different. Therefore, this is not only a simple combing of the history of the development of evil film, but also to these representative films as a reference. A more thorough understanding and discussion of the evil film. Number three. The third and 4th chapters of this paper analyze the aesthetic characteristics and multi-value of the evil classic film from the angle of the ontology of the evil classic film respectively. The research in this part is a deeper cognition to the evil classic film. . This article has carried on the research to the esthetics characteristic such as the style and the content of the evil classic movie, and has also paid attention to the value of the evil classic film to the film world and the social culture. This is also an important way to know why the alternative of this film world attracts a small number of fans to be crazy. Through these several parts of the analysis and research, it is clear that the understanding of the evil film should be open and development vision. It is also necessary to correctly understand the cultural phenomenon caused by the evil classic film and the relationship between the birth and development of the evil classic film and the social culture.
【學(xué)位授予單位】：曲阜師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J905

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 趙勇;性與暴力:從狂歡到娛樂——論西方影視的大眾文化特性[J];當(dāng)代電影;2003年03期

2 吳迪;田祥斌;;論喪尸電影的價值內(nèi)核變遷[J];電影文學(xué);2012年04期

3 史丹利五;;我們?yōu)槭裁礋釔酃制?[J];電影世界;2008年03期

4 李瑞;;血腥的震撼——淺析現(xiàn)代黑幫電影的暴力審美特點(diǎn)[J];電影評介;2009年09期

5 勞倫斯·米亞德;亞瑟·霍爾;保羅·富蘭克林;杰克·格林哈爾;;墮落的確有其魅力 《大麻煙瘋潮》[J];電影世界;2013年01期

6 喬丹·扎卡林;小熊;;昆汀:“外界批評對我來說,就當(dāng)放屁。”[J];電影世界;2013年01期

7 特里·邵斯恩;克勞德·雷諾阿;;太空脫衣舞 《太空英雌芭芭麗娜》[J];電影世界;2013年01期

8 顧振清;當(dāng)代藝術(shù)表述方式中的暴力化傾向[J];美術(shù)觀察;2000年08期

9 克萊門特·格林伯格;秦兆凱;;前衛(wèi)與媚俗[J];美術(shù)觀察;2007年05期

10 付曉;;論“邪典電影”的界定及其美學(xué)特征[J];南京藝術(shù)學(xué)院學(xué)報(音樂與表演版);2008年02期

本文編號：1444513