本文關(guān)鍵詞： 美學(xué)構(gòu)建 影像表意 多模態(tài)話語分析 審美效應(yīng) 災(zāi)難電影　出處：《東北師范大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：1990年代電影數(shù)字技術(shù)融入影像肌理,“虛擬”構(gòu)建影像的現(xiàn)實(shí)與“超現(xiàn)實(shí)”,表意模態(tài)、審美體驗(yàn)愈加豐富。同一時(shí)期,多模態(tài)話語分析理論應(yīng)運(yùn)而生,與“社會(huì)文化”與“心理認(rèn)知研究”共同構(gòu)成了對表意系統(tǒng)化類型美學(xué)的建構(gòu)邏輯。全球視野是中國文化“走出去”的基礎(chǔ),在全球文化競爭的格局中,電影作為文化輸出的重要載體,好萊塢是中國電影必須要面對的強(qiáng)敵。因此從主題先行,到文化認(rèn)同先行,建構(gòu)“本土創(chuàng)作與全球觀眾審美的理性互動(dòng)機(jī)制”尤為重要。本文以我國輸入/輸出比重最為懸殊的災(zāi)難片為核心,以1990年代好萊塢災(zāi)難電影為對象,以作為“意義潛勢”的社會(huì)文化語境為起點(diǎn),以多模態(tài)話語研究框架中的研究結(jié)構(gòu)為參考,建立表意和認(rèn)同的互動(dòng)認(rèn)知的審美秩序,進(jìn)一步完成災(zāi)難電影的類型美學(xué)構(gòu)建。筆者從美學(xué)及文化體系中建立審美效應(yīng)的視角,以多模態(tài)話語“交際、語境、語篇”三大元功能為基礎(chǔ),形成以多模態(tài)話語意義潛勢為核心,以審美效應(yīng)為依據(jù)、以影像表意逐層深入的創(chuàng)作策略為層次,系統(tǒng)化構(gòu)建災(zāi)難的電影美學(xué)結(jié)構(gòu)體系。第一章,對災(zāi)難類型本體進(jìn)行系統(tǒng)化的梳理,以審美的文化導(dǎo)向來建構(gòu)災(zāi)難片題材體系。深度解析1990年代以來,好萊塢災(zāi)難電影多元共生的文化語境。第二章,以審美互動(dòng)效應(yīng)為依據(jù),探索表意系統(tǒng)與審美認(rèn)同規(guī)律的美學(xué)邏輯;接下來筆者以審美的鏡像效應(yīng)為導(dǎo)向,建構(gòu)災(zāi)難片原型意象結(jié)構(gòu)及母題內(nèi)涵。利用結(jié)構(gòu)主義符號學(xué)和精神分析原理,構(gòu)建神話母題秩序與后現(xiàn)代“書寫”,進(jìn)一步探索災(zāi)難電影的原型意象體系;從影像表意的最小元素入手,以社會(huì)文化精神鏡像和自我心理投射為依據(jù)完成審美效應(yīng)的美學(xué)遞歸。第三章,筆者從知覺表意單元入手,以審美感官震撼的知覺效應(yīng)建構(gòu)災(zāi)難片故事及思想概念的再現(xiàn)意義。以多模態(tài)話語中的再現(xiàn)功能為原理,探索感官體驗(yàn)審美效應(yīng)導(dǎo)向的災(zāi)難片故事及思想的美學(xué)構(gòu)建。第四章,以審美的情緒認(rèn)知效應(yīng)為核心,以多模態(tài)話語的互動(dòng)理論為依據(jù),運(yùn)用認(rèn)知符號學(xué)的方法論將接觸、距離、態(tài)度、情態(tài)等原理,轉(zhuǎn)化為影像表意中視點(diǎn)的認(rèn)知圖式、藝術(shù)化情緒張力遞歸模型的研究視角,激活情節(jié)與情感、記憶與認(rèn)知的審美效應(yīng)。第五,以意識形態(tài)機(jī)制為切入點(diǎn),深入全球文化語境,解析好萊塢跨文化表意策略,解讀好萊塢災(zāi)難片如何成功的將表意元素傳遞給中國受眾,辨析文化表征背后的霸權(quán)“陰謀”,樹立思辨的好萊塢研究觀。筆者以“電影理論、電影史觀、電影批評”相融合的視聽藝術(shù)史論多元互動(dòng)研究思路,以積極辯證的好萊塢研究立場,形成指向?qū)嵺`創(chuàng)作的動(dòng)態(tài)開放理論創(chuàng)新。
[Abstract]:In the 1990s, the digital film technology was integrated into the image texture, the reality of "virtual" construction image and "surreal", the mode of meaning and aesthetic experience more and more abundant. At the same time, the theory of multi-modal discourse analysis came into being. Together with "social culture" and "psychological cognition research", it constitutes the constructive logic of the esthetics of ideographic systematization type. The global perspective is the foundation of Chinese culture "going out", and it is in the pattern of global cultural competition. As an important carrier of cultural output, Hollywood is a strong enemy that Chinese films must face. Therefore, from theme first to cultural identity first. It is particularly important to construct a rational interactive mechanism between local creation and the aesthetic appreciation of the global audience. This paper focuses on the disaster film which has the highest proportion of input / output in China and takes Hollywood disaster film in the 1990s as the object. Taking the sociocultural context as the "potential of meaning" as the starting point and the research structure in the framework of multi-modal discourse research as the reference, the aesthetic order of the interactive cognition of ideographic meaning and identity is established. From the perspective of aesthetic and cultural system, the author establishes the aesthetic effect on the basis of the three metafunctions of multi-modal discourse "communication, context and discourse". The formation of multi-modal discourse potential as the core, based on aesthetic effects, with the image of the depth of the creative strategy for the level, systematic construction of the disaster of the aesthetic structure system. Chapter 1. This paper systematically combs the Noumenon of disaster types, constructs the disaster film theme system with the aesthetic cultural orientation, and deeply analyzes the cultural context of Hollywood disaster film since 1990s. Chapter two. Based on the aesthetic interaction effect, this paper explores the aesthetic logic of the ideographic system and the law of aesthetic identity. Then the author constructs the image structure of disaster film prototype and the connotation of motif, and constructs the order of mythical motif and post-modern "writing" by using structuralism semiotics and psychoanalysis principle. Further explore the prototype image system of disaster film; Starting with the minimum elements of the image, the aesthetic recursion of aesthetic effect is completed based on the sociocultural spiritual mirror image and self-psychological projection. Chapter three, the author starts with the unit of perceptual ideographic meaning. Using the perceptual effect of aesthetic sense shock to construct the reproduction meaning of disaster film story and the concept of thought, with the principle of reproducing function in multi-modal discourse. Explore the aesthetic construction of disaster film stories and thoughts guided by aesthetic experience. 4th chapter, with aesthetic emotional cognitive effect as the core, based on the interactive theory of multi-modal discourse. By using the methodology of cognitive semiotics, the principles of contact, distance, attitude and modality are transformed into the cognitive schema of view point in image representation, the visual angle of artistic emotional tension recursive model, and the activation of plot and emotion. The Aesthetic effect of memory and Cognition. 5th, with ideological Mechanism as the starting Point, penetrating into the Global Cultural context and analyzing Hollywood's Cross-cultural ideographic Strategies. Explain how Hollywood disaster film successfully conveys the elements of ideographic meaning to the Chinese audience, discriminates and analyzes the hegemonic "conspiracy" behind the cultural representation, and sets up a speculative view of Hollywood study. The author uses "Film Theory, Film History View". Film criticism "the combination of audio-visual art history theory multi-interactive research ideas, with an active and dialectical Hollywood research position, to form a dynamic and open theoretical innovation pointing to practical creation."
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J901

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