本文關(guān)鍵詞： 伊朗 新電影 詩意質(zhì)樸 伊斯蘭文化 風(fēng)格　出處：《西南大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：1906年開始,伊朗建了首批電影放映廳,經(jīng)過后期的發(fā)展,伊朗電影業(yè)有了一定的規(guī)模。受二戰(zhàn)的影響,伊朗電影開始陷入低迷狀態(tài)。在巴列維國王時期,第一次伊朗新電影浪潮由達魯什·梅赫朱依的電影《奶牛》于1969年開啟,在此期間,涌現(xiàn)了不少的佳作。1979年,霍梅尼領(lǐng)導(dǎo)的伊斯蘭革命勝利之后,電影拍攝的“尺度”和題材均有所限制。伊朗電影一再遭遇打擊,電影工作者在這種嚴(yán)苛的創(chuàng)作環(huán)境下走得異常艱難。也許因為電影審查制度嚴(yán)苛,伊朗電影沒有展示給大眾戰(zhàn)爭和殺戮的畫面,也禁止色情,不崇尚好萊塢式科幻大片。這些敏感的主題,都是定時炸彈。伊朗電影工作者避開雷區(qū),回歸到人的本身。世界各國電影都有關(guān)于底層人民生活的拍攝,但是唯有伊朗電影的樸素真實讓我們心生觸動。在阿巴斯的長鏡頭里,我們學(xué)會等待,始終在原地等待,一望無際的大漠,沒有盡頭的蜿蜒小路,一遍又一遍循環(huán)往復(fù)。在伊朗影片中,那些普普通通的百姓,卑微的生存。伊朗電影因為宗教政治等原因不得不舍棄這些主題,電影鏡頭對準(zhǔn)了人,關(guān)注的都是鮮活的生命個體和對人性的關(guān)懷。喬治·奧威爾表示過,你拒絕政治也是一種政治態(tài)度。他的觀點不無道理,怎樣在電影里處理好這種關(guān)系才是重要的。在伊朗影片里,誰能說這苦難的背后沒有制度的因素,但是他們不同于我們,沒有把罪惡都歸于人吃人的社會,也沒有程式化的血淚控訴。伊朗電影在具體的困境中,挖掘的是人的本性會指引他如何懷疑和選擇,徘徊和不棄。伊朗第二次新電影浪潮現(xiàn)象與其社會背景、政治、宗教、文化以及經(jīng)濟都有著千絲萬縷的聯(lián)系。伊朗是一個政教合一的伊斯蘭國家,伊斯蘭文化中的各種清規(guī)戒律對伊朗電影的限制頗多,伊朗電影工作者堪稱“戴著鐐銬的舞者”。由于政治、宗教、經(jīng)濟等多種因素,詩意質(zhì)樸的伊朗電影關(guān)注的視角多為兒童和女性,選取的故事一般都是平凡的人和事,以小見大,風(fēng)格清新。本文引言部分主要探討伊朗電影的研究現(xiàn)狀和研究意義,第一章主要介紹新電影浪潮時期的伊朗社會背景,伊朗電影政策體制改革下的電影形態(tài)以及推動第二次新電影浪潮爆發(fā)的原因和作用。第二章梳理第二次新電影浪潮中的主要導(dǎo)演,呈現(xiàn)他們在伊朗新電影中的地位及影響。第三章著重分析伊朗新電影風(fēng)格特色,探究導(dǎo)演以作者的身份參與電影活動,在虛幻與現(xiàn)實的邊緣游走,意大利新現(xiàn)實主義對伊朗新電影的影響,兒童電影在成人視角下的影像風(fēng)格。最后,歸納總結(jié)新電影浪潮成功的經(jīng)驗與啟示,伊朗電影是世界影壇不可忽視的新力量之一。
[Abstract]:In 1906, Iran began to build the first film screening hall, after later development, the Iranian film industry has a certain scale. Under the influence of World War II, the Iranian film began to fall into a state of depression. The first wave of new Iranian films was opened in 1969 by Darusch Mehchoy's film Cow, during which a number of great works emerged. 1979. After Khomeini's victory in the Islamic Revolution, the film's "scale" and subject matter were limited. Iranian films were hit again and again. Filmmakers have struggled in this harsh environment. Perhaps because of the harsh censorship regime, Iranian films do not show images of mass war and killing, and pornography is banned. No Hollywood sci-fi blockbusters. These sensitive themes are time bombs. Iranian filmmakers avoid minefields and return to people themselves. Films around the world are about the lives of people at the bottom. But only the simplicity of the Iranian film touched our hearts. In Abbas's long shot, we learn to wait, always waiting in place, endless desert, endless winding path. Over and over again. In Iranian films, ordinary people, humble survival. Iranian films because of religious and political reasons have to abandon these themes, the film shot at people. It's all about living individuals and caring for humanity. George Orwell said that you're also a political attitude to politics. He's got a point. How to deal with this relationship in a movie is important. In an Iranian film, who can say that there is no institutional factor behind this suffering, but they are different from us, and they do not attribute evil to a cannibalistic society. There is no formalized blood and tears accusation. In the specific plight of Iranian film, it is the human nature that will guide him how to doubt and choose, wander and not abandon. Iran's second new film wave phenomenon and its social background. Politics, religion, culture and economy are inextricably linked. Iran is an Islamic country where religion and politics are integrated, and there are many restrictions on Iranian films under various disciplines in Islamic culture. Iranian filmmakers are called "chained dancers". Due to political, religious and economic factors, poetical Iranian films focus on children and women. The selected stories are generally ordinary people and things, through a small part of the whole, the style is fresh. The introduction of this article mainly discusses the current situation of Iranian film research and research significance. The first chapter mainly introduces the Iranian social background in the period of the New Film Wave. The film form under the reform of Iranian film policy system and the causes and functions of promoting the second new film wave. Chapter two combs the main directors in the second new film wave. The third chapter focuses on the analysis of the characteristics of the new Iranian film style, explores the director as an author to participate in the film activities, wandering on the edge of fantasy and reality. The influence of Italian neo-realism on the new Iranian film and the image style of the children's film from the adult perspective. Finally, summarize the successful experience and enlightenment of the new film wave. Iranian film is one of the new forces which can not be ignored in the world film world.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J909.373

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