本文關(guān)鍵詞： 后現(xiàn)代主義 馮小剛喜劇電影 后現(xiàn)代主義語(yǔ)境 后現(xiàn)代主義特征 后現(xiàn)代主義藝術(shù)元素　出處：《西安建筑科技大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：20世紀(jì)90年代，一部喜劇電影《甲方乙方》使導(dǎo)演“馮小剛”開始受到中國(guó)大陸廣大電影觀眾的密切關(guān)注。如今，馮小剛憑借他編導(dǎo)的一系列高票房的幽默喜劇電影已逐漸成為中國(guó)大陸喜劇電影界里一名重量級(jí)的喜劇電影導(dǎo)演，他的喜劇電影也有了一定的品牌效應(yīng)。當(dāng)前，無(wú)論是馮小剛導(dǎo)演本人還是他諸多的喜劇電影作品都已成為國(guó)內(nèi)廣大喜劇電影創(chuàng)作者學(xué)習(xí)和研究的對(duì)象。鑒于此，本文也試圖從后現(xiàn)代主義的視角出發(fā)對(duì)馮小剛的喜劇電影作以研究，來(lái)向大家揭示馮氏喜劇電影的獨(dú)特魅力和成功因素。 本文大致包括六部分： 第一章緒論。這部分簡(jiǎn)單介紹了關(guān)于馮小剛喜劇電影研究的背景和意義，及目前的國(guó)內(nèi)外研究現(xiàn)狀，提出本論文的后現(xiàn)代主義研究視角。 第二章分析了馮小剛喜劇電影后現(xiàn)代特征形成的社會(huì)文化語(yǔ)境。這部分先交代了什么是后現(xiàn)代主義和后現(xiàn)代主義電影的特征，繼而指出崛起于20世紀(jì)90年代末的“馮氏喜劇”電影因中國(guó)當(dāng)時(shí)的市場(chǎng)經(jīng)濟(jì)體制改革，而天然地具備一些后現(xiàn)代特征形成的境遇條件，如“以大眾文化為主體的，由大眾傳媒支配的，倡導(dǎo)多元話語(yǔ)權(quán)”的后現(xiàn)代大眾文化語(yǔ)境和“追求無(wú)深度、平面化；反主體；崇尚大眾消費(fèi)性；娛樂性至上“的后現(xiàn)代消費(fèi)文化語(yǔ)境。 第三章深入剖析了馮小剛喜劇電影的游戲化、平面化及多元化等的三個(gè)層面的后現(xiàn)代主義特征，并特別指出馮小剛在中國(guó)大陸的電影界率先樹立起商品經(jīng)濟(jì)的理念，將電影藝術(shù)與商業(yè)相結(jié)合，使得他的喜劇電影作品具有商業(yè)化特征。 第四章具體分析了馮氏喜劇電影后現(xiàn)代特征的藝術(shù)元素的幾種表現(xiàn)形式，即小品化故事情節(jié)拼貼，平民化人物敘事，還有狂歡化幽默語(yǔ)言等。所有這些形式都是后現(xiàn)代電影藝術(shù)特征——“反宏大敘事”——的具體體現(xiàn)。 第五章總結(jié)了馮氏喜劇電影的成功之處，并對(duì)其固有的地域局限性進(jìn)行了簡(jiǎn)單探討。指出“馮氏喜劇”能夠順應(yīng)時(shí)代發(fā)展將電影的藝術(shù)性和商業(yè)性完美融合從而在中國(guó)內(nèi)地?fù)碛泻軓?qiáng)的品牌效應(yīng)，但其若想走出地域局限從而讓世界人民共享，還需在幾方面繼續(xù)努力。 第六章是結(jié)論。提出正確理解和認(rèn)識(shí)馮氏喜劇電影的后現(xiàn)代特征，無(wú)論對(duì)于當(dāng)代中國(guó)喜劇電影的創(chuàng)作實(shí)踐還是理論研究都具有深刻的借鑒和啟示意義。 本文應(yīng)用后現(xiàn)代主義的相關(guān)理論方法，從后現(xiàn)代主義視角出發(fā)，對(duì)馮小剛的喜劇電影作品進(jìn)行了相對(duì)系統(tǒng)的分析和研究，指出馮小剛的喜劇電影在中國(guó)大陸的喜劇電影發(fā)展史上具有里程碑的作用。它們因?yàn)樽约邯?dú)特的后現(xiàn)代性特征，因而可以將喜劇電影的幽默精髓完全釋放，從而為中國(guó)喜劇電影的發(fā)展開創(chuàng)了一片嶄新天地。本文同時(shí)分析了馮小剛喜劇電影發(fā)展的得與失，，指出馮小剛應(yīng)該在保持自己已有的的喜劇電影創(chuàng)作特色優(yōu)勢(shì)的基礎(chǔ)之上，尚需進(jìn)一步為自己的電影作品努力拓寬國(guó)內(nèi)外市場(chǎng)以創(chuàng)造更高社會(huì)知名度，爭(zhēng)取使之走出國(guó)門，走向世界，為中國(guó)大陸喜劇電影的蓬勃發(fā)展樹立一個(gè)積極的榜樣示范作用。
[Abstract]:In 1990s, a comedy film "party a party b > director" Feng Xiaogang "have begun to pay close attention to Chinese mainland film audience. Today, Feng Xiaogang with his directing a series of high box office comedy film has become China, comedy movies in a heavyweight comedy film director, his comedy film also have certain brand. Currently, it is directed by Feng Xiaogang himself or his many comedy film works have become the object of the majority of domestic comedy filmmakers to learn and study. In view of this, this paper also attempts to Feng Xiaogang's comedy movies from the postmodernism perspective for the study of the unique charm and success factors to reveal to you Feng's comedy movies.
This paper consists of six parts:
The first chapter is the introduction. This part briefly introduces the background and significance of Feng Xiaogang comedy movie research, and the current research status at home and abroad, and puts forward the postmodern perspective of this thesis.
The second chapter analyzes the characteristics of the formation of modern comedy film after Feng Xiaogang's social and cultural context. This part first explains what is the characteristics of modernism and postmodernism film, then pointed out that the rise in the end of the 1990s film "Feng comedy" because China at the time of the reform of market economic system, and has formed the modern natural features after the situation, such as the "mass culture as the main body, dominated by the mass media, advocating the pluralistic discourse" in postmodern cultural context and the "pursuit of no depth, flat; anti subject; advocating public consumption of entertainment; first" postmodern consumption culture context.
The third chapter analyzes Feng Xiaogang's comedy movie game, three aspects of plane and diversified the characteristics of postmodernism, and points out that Feng Xiaogang in the Chinese mainland film industry to establish the concept of the commodity economy, the movie art and business combination, made his comedy movie has the characteristics of commercialization.
The fourth chapter analyzes the specific forms of artistic elements in Feng's comedy movie modern features, namely the sketch of plot collage, civilian narrative, and Carnival humor. All these forms are post-modern movie art features embodied "grand narrative" - -.
The fifth chapter summarizes the success of Feng's comedy movies, and the inherent limitations are discussed. It is pointed out that the "Feng comedy" to adapt to the development of the brand effect of the artistic and commercial films in order to perfect fusion Chinese mainland has a very strong, but if you want to get out of the geographical limitations and the people in the world sharing, need to continue efforts in several aspects.
The sixth chapter is the conclusion. The modern characteristics put forward correct understanding and awareness of Feng's comedy film, it has a profound significance to the contemporary China comedy film creation practice and theoretical research.
The related theories and methods of modernism in this paper, starting from the perspective of postmodernism, Feng Xiaogang's comedy film works are analyzed and relative system research, it is pointed out that the role of milepost Feng Xiaogang's comedy film comedy film in the history of development of China mainland. They are because of their unique features of post modernity, so it can be the essence of humor comedy movie released in full, thus creating a new world for the development of Chinese comedy film. This paper also analyzes the development of Feng Xiaogang's comedy movies of the gain and loss, pointed out that Feng Xiaogang should be based on maintaining their existing comedy film creation characteristics and advantages, still need to create more social awareness for further his film works to expand domestic and foreign markets, and strive to make out of the country, to the world, for the China mainland comedy movie flourish Set up a positive example and exemplary role.

【學(xué)位授予單位】：西安建筑科技大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J905

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