本文關(guān)鍵詞： 紀(jì)實(shí)主義 東方發(fā)展中國(guó)家 電影文化 脫域 現(xiàn)代性　出處：《上海師范大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：在電影理論史上，紀(jì)實(shí)主義和蒙太奇美學(xué)曾保持了較長(zhǎng)一段時(shí)間的對(duì)立態(tài)勢(shì)。然而就當(dāng)下來(lái)看，二者在創(chuàng)作上早已呈現(xiàn)出融合的傾向，并且融合的效果已然十分自然。但是這兩種電影觀念畢竟以不同的向度，在歷史上代表著人對(duì)電影本性之最高認(rèn)識(shí)，因此，，這兩種經(jīng)典電影觀念依然值得我們繼續(xù)探討。隨著數(shù)字技術(shù)和虛擬現(xiàn)實(shí)技術(shù)在電影領(lǐng)域的應(yīng)用，電影符號(hào)、世界和人本身之間的關(guān)系需要被重新討論，重點(diǎn)關(guān)注“真實(shí)”的紀(jì)實(shí)主義應(yīng)該是這一話題中的討論重點(diǎn)。在全球化日益深入的今天，紀(jì)實(shí)主義的跨文化傳播問(wèn)題應(yīng)該得到更加深入的探討，尤其是其在東方發(fā)展中國(guó)家的影響，更是應(yīng)該放在文化研究與美學(xué)重釋的雙重視角下進(jìn)行更加深入、全面的研究。東方發(fā)展中國(guó)家的電影創(chuàng)作幾乎在相同的時(shí)間崛起于世界影壇，本身是可以作為一個(gè)整體加以研究的，不同地區(qū)的創(chuàng)作經(jīng)驗(yàn)也可以互相比較借鑒。借助安東尼吉登斯的“脫域”概念，這一文化傳播現(xiàn)象可以得到更為清晰的概覽，并且獲得一種現(xiàn)代性的視角。東方發(fā)展中國(guó)家本土現(xiàn)代化進(jìn)程中的現(xiàn)代性經(jīng)驗(yàn)，即斷裂體驗(yàn)、認(rèn)同困境、選擇焦慮在藝術(shù)家的審美體驗(yàn)下被融入紀(jì)實(shí)主義電影語(yǔ)言之中，成為世界影壇上一種別具一格的電影形態(tài)，并且，東方發(fā)展中國(guó)家各個(gè)地域的藝術(shù)思維中既有與紀(jì)實(shí)主義的抵牾成分，也有便于其融合的成分。這一點(diǎn)的復(fù)雜性理應(yīng)得到充分的強(qiáng)調(diào)，藉此，紀(jì)實(shí)主義與東方藝術(shù)思維的抵牾與融合問(wèn)題便得以思考的更加深入，進(jìn)而便可理解，紀(jì)實(shí)主義本身在藝術(shù)形式上對(duì)文化固有性的天然強(qiáng)調(diào)和在美學(xué)追求上對(duì)文化超越性的不斷探尋是如何融入東方發(fā)展中國(guó)家電影文化的機(jī)理，成為其電影文化的發(fā)展動(dòng)力。
[Abstract]:In the history of film theory, documentalism and montage aesthetics have maintained a long period of antagonism. And the effect of fusion has already been very natural. But these two kinds of film concepts, after all, in different directions, represent the highest understanding of the nature of film in history, therefore, These two classic movie concepts are still worth exploring. With the use of digital and virtual reality technologies in the field of film, the relationship between film symbols, the world and the human being needs to be revisited. The focus on "truthfulness" should be the focus of discussion on this topic. With the deepening of globalization, the cross-cultural communication of documentalism should be discussed more deeply. In particular, its influence in the developing countries of the East should be further deepened from the perspective of cultural research and aesthetic reinterpretation. A comprehensive study. The Eastern developing countries' film creation almost at the same time rise in the world film world, itself can be studied as a whole, different regions of the creative experience can also be compared with each other. Giddens' concept of "delegitimization", the phenomenon of cultural communication, can be seen more clearly and from the perspective of modernity. The experience of modernity in the process of local modernization in the developing countries of the East, that is, the experience of breaking up and identifying with the predicament, can be found in the process of local modernization in the developing countries of the East. Under the aesthetic experience of the artist, the choice anxiety is integrated into the documentary film language, and becomes a unique film form in the world film world, and, The complexity of the artistic thinking in various regions of the developing countries in the East is not only contradictory to documentalism but also conducive to its integration. The contradiction and amalgamation between documentalism and oriental artistic thinking can be considered more deeply, and then it can be understood. The natural emphasis of documentalism itself on the inherent nature of culture in artistic form and the continuous exploration of cultural transcendence in aesthetic pursuit are how to blend into the mechanism of film culture in the developing countries of the East and become the motive force for the development of its film culture.
【學(xué)位授予單位】：上海師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J909.1

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