本文關鍵詞： 日本恐怖電影 現代呈現 自我建構 文化特質　出處：《陜西師范大學》2013年碩士論文　論文類型：學位論文

【摘要】：作為類型藝術的一個重要分支,恐怖藝術在中西方世界都有著悠久的歷史。盡管在傳統(tǒng)話語中,恐怖藝術一直處于邊緣地位,常常被人認為是充滿“怪力亂神”的無稽之談。然而,如果對恐怖藝術做一個細致的解剖,就不難發(fā)現恐怖藝術并非是恫嚇與恐懼那么簡單。人類對怪物創(chuàng)造的熱情從西方的吸血鬼、狼人到充滿東方色彩的女鬼狐妖,這種對外在他者的想象性創(chuàng)造,一度作為恐怖藝術的經典主題。人類通過怪物來界定自我,因而,怪物作為自我的鏡像顯現。誠然,文化可以透過它對怪物的再現而被詮釋,①這恐怕正是恐怖藝術最重要的意義所在。上世紀50到60年代,世界影壇出現了大量的恐怖電影,恐怖電影進入前所未有的黃金時期。與此同時,日本也開始出現大量的現代恐怖電影,并以其獨樹一幟的題材、表現手法和藝術特色在世界恐怖電影的版圖內享有盛名。此時的日本恐怖電影不僅繼承了古典怪談傳統(tǒng),還開創(chuàng)出怪獸、怪物等新類型。故此,本文以1954年到1964年之間日本恐怖電影為藍本,對這十年間的文化思潮轉向進行梳理,并試圖將其放置于東西方政治-文化的廣闊語境中進行參差比較,從而描繪出日本民族性格與心靈在文化、心理、政治、娛樂、敘事等方面的特質。論文分為三個部分。第一部分主要對藝術中的“恐怖”審美進行界定,分別從精神分析、認識論以及美學史三個維度展開探討。第二部分以三個具有代表性的日本恐怖電影文本,分別從人、獸、鬼三個角度對戰(zhàn)后日本恐怖文化的根源、轉向以及特質進行梳理,在日本民族集體遭受到戰(zhàn)爭的挫敗感、傳統(tǒng)文化和神的信仰的失落的情況下,對其中建構起來的自我身份進行文化解讀。第三部分旨在探討日本恐怖電影中作為他者的怪物對于自我建構的意義,并對日本恐怖電影隱藏在怪物文化背后的民族心靈特質進行歸納。
[Abstract]:As an important branch of genre art, the art of terror has a long history in both China and the West, although in the traditional discourse, the art of terror has always been marginalized. It is often thought of as a nonsense full of "freaky disarray". However, if you do a detailed dissection of the art of terror. It is not difficult to find that the art of terror is not so simple as intimidation and fear. Human enthusiasm for monster creation ranges from Western vampires, werewolves to oriental female foxes, this imaginative creation of others. Once as the classic theme of the art of terror. Human beings define themselves through monsters, thus, monsters appear as mirror images of themselves. Indeed, culture can be interpreted through its reappearance of monsters. I am afraid this is the most important meaning of the art of terror. From 0th century to 60s, there were a large number of horror films in the world, horror films entered an unprecedented golden age. At the same time. Japan also began to appear a large number of modern horror films, and its unique theme. At this time, the Japanese horror film not only inherited the tradition of classical monstrosity, but also created a new type of monster, monster, and so on. Based on the Japanese horror film from 1954 to 1964, this paper combs the cultural trend of thought in this decade. And try to put it in the wide context of eastern and western political-cultural, so as to describe the Japanese national character and soul in culture, psychology, politics, entertainment. The article is divided into three parts. The first part mainly defines the aesthetic of "terror" in art, respectively from the spiritual analysis. Epistemology and aesthetic history of the three dimensions to explore. The second part of the three representative Japanese horror film texts, respectively from the human, animal, ghost three perspectives of the root causes of post-war Japanese terror culture. Under the circumstances of the defeat of the war, the loss of the traditional culture and the belief of God, the Japanese national collective suffered the frustration of the war and the loss of the traditional culture and the belief of God. The third part is to explore the meaning of the monster as the other in the Japanese horror film. And the Japanese horror film hidden in the monster culture behind the national spiritual characteristics were summarized.
【學位授予單位】：陜西師范大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J909.313

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本文編號：1488723