本文關(guān)鍵詞： 越南戰(zhàn)爭(zhēng)電影 伊拉克戰(zhàn)爭(zhēng)電影 戰(zhàn)爭(zhēng)創(chuàng)傷 演變　出處：《北京外國(guó)語(yǔ)大學(xué)》2017年碩士論文　論文類(lèi)型：學(xué)位論文

【摘要】：本文把創(chuàng)傷研究和比較研究結(jié)合起來(lái)研究從越南戰(zhàn)爭(zhēng)到伊拉克戰(zhàn)爭(zhēng)期間戰(zhàn)爭(zhēng)電影對(duì)戰(zhàn)爭(zhēng)創(chuàng)傷癥狀和創(chuàng)傷宣泄手段的呈現(xiàn)的演變,并探討這種演變是否是一種進(jìn)步。電影是一種潛意識(shí)的集體文化,人們對(duì)事物的看法都會(huì)在電影中有集中表現(xiàn),只有觀眾贊同了電影所表達(dá)的內(nèi)核,電影才會(huì)獲獎(jiǎng)或者收到票房。因此,本文選擇電影的標(biāo)準(zhǔn)是電影須為經(jīng)典的獲獎(jiǎng)戰(zhàn)爭(zhēng)電影同時(shí)主角是戰(zhàn)爭(zhēng)創(chuàng)傷受害者,所以越南戰(zhàn)爭(zhēng)電影選擇了《出租車(chē)司機(jī)》(1976),和"蘭博系列"電影《第一滴血》(1982),《蘭博:第一滴血2》(1985),《蘭博3》(1988)和《蘭博》(2008)來(lái)作為分析對(duì)象,伊拉克戰(zhàn)爭(zhēng)電影選擇了《決戰(zhàn)伊拉谷》(2007)和《美國(guó)狙擊手》(2014)來(lái)作為分析對(duì)象。在比較中,為了使論證更加有力,本文還選擇了其他越南戰(zhàn)爭(zhēng)電影和伊拉克電影作為支持論據(jù),越戰(zhàn)電影有《獵鹿人》(1978),《生于七月四日》(1989),伊拉克戰(zhàn)爭(zhēng)電影有《非常時(shí)期》(2006),《拆彈部隊(duì)》(2008)。通過(guò)比較越南戰(zhàn)爭(zhēng)電影和伊拉克戰(zhàn)爭(zhēng)電影對(duì)創(chuàng)傷及治愈的展現(xiàn),發(fā)現(xiàn)了演變主要表現(xiàn)在兩個(gè)方面,一是創(chuàng)傷的受害者由只注重描述士兵的戰(zhàn)爭(zhēng)創(chuàng)傷擴(kuò)大范圍到包括戰(zhàn)爭(zhēng)后方群眾尤其是士兵家屬的創(chuàng)傷。二是創(chuàng)傷的暴力宣泄由越南戰(zhàn)爭(zhēng)電影中的設(shè)定為道德的到伊拉克戰(zhàn)爭(zhēng)電影中設(shè)定為不道德的。通過(guò)對(duì)這兩大演變的分析討論,作者發(fā)現(xiàn)從越南戰(zhàn)爭(zhēng)電影到伊拉克戰(zhàn)爭(zhēng)電影,盡管電影仍存在明顯不足之處,如仍強(qiáng)調(diào)"陽(yáng)剛"的創(chuàng)傷癥狀及暴力宣泄,為士兵的殺戮脫罪,和在治愈的過(guò)程中仍缺少對(duì)侵略地人民的贖罪,伊拉克戰(zhàn)爭(zhēng)電影在創(chuàng)傷受害者,暴力宣泄,社會(huì)支持和尋找"元兇"等四個(gè)方面產(chǎn)生了極大進(jìn)步。比起不足,進(jìn)步更值得肯定。從越南戰(zhàn)爭(zhēng)電影到伊拉克戰(zhàn)爭(zhēng)電影,創(chuàng)傷受害者從只有士兵們到擴(kuò)大到包括美國(guó)戰(zhàn)爭(zhēng)后方的美國(guó)公民尤其是士兵的家庭成員,創(chuàng)傷受害者得到了更好的社會(huì)支持,創(chuàng)傷的暴力宣泄由越南戰(zhàn)爭(zhēng)電影中的道德的轉(zhuǎn)變?yōu)橐晾藨?zhàn)爭(zhēng)電影里的不道德,暴力宣泄遭到批判。最后,在尋找"元兇"上,越南戰(zhàn)爭(zhēng)電影責(zé)怪女性的冷漠阻礙了士兵回歸社會(huì),但是伊拉克戰(zhàn)爭(zhēng)電影責(zé)怪父親,作為男權(quán)文化的象征,是戰(zhàn)爭(zhēng)創(chuàng)傷的真正根源。因此,比起越南戰(zhàn)爭(zhēng)電影,伊拉克戰(zhàn)爭(zhēng)不但電影擴(kuò)大了受害者范圍,呈現(xiàn)了如何進(jìn)行合理的心理治愈,而且不再單純塑造受害者形象,而是借他們的心理創(chuàng)傷,批判了美國(guó)士兵的入侵和殺戮者的身份和美國(guó)的戰(zhàn)爭(zhēng)文化。所以,盡管有明顯的不足之處,如仍過(guò)于強(qiáng)調(diào)"陽(yáng)剛"的創(chuàng)傷癥狀及暴力宣泄,仍為士兵的殺戮脫罪,和在治愈的過(guò)程中仍缺少對(duì)侵略地人民有任何的贖罪,創(chuàng)傷的熒幕塑造發(fā)生了相當(dāng)明顯的進(jìn)步。
[Abstract]:This paper combines trauma studies with comparative studies to study the evolution of the presentation of war trauma symptoms and methods of catharsis by war films from the Vietnam War to the Iraq War. And explore whether this evolution is a kind of progress. Film is a subconscious collective culture in which people's views of things are concentrated in the film, and only the audience agrees with the core of the film. Therefore, the criteria for this selection is that the film must be a classic award winning war film and the protagonist is the victim of war trauma. So the Vietnam War movies chose "Taxi driver" (1976), and "Rambo Series" "first drop of Blood" (1982), < Rambo: first drop of Blood 2 > Blood2 > 1985, < Rambo 3 > No.8 (1988) and < Rambo > 2008] as analysis objects. Iraq War movies selected "Iraq War Elah Valley" 2007) and "American sniper" 2014) as analysis objects. In order to make the argument more powerful, this paper also chooses other Vietnam War films and Iraqi films as supporting arguments. The Vietnam War films include Deer Hunter, 1978, born on July 4th, 1989, Iraq War, the extraordinary period, 2006, and the Anti-bomb Forces, 2008. By comparing the Vietnam War movies with the Iraqi War movies, they show the trauma and healing. Found that the evolution is mainly in two aspects, One is that the victims of trauma have expanded from the war trauma, which only focuses on describing the soldiers, to include the trauma of the people behind the war, especially the soldiers' family members. The second is that the violent release of the trauma has been made moral by the Vietnam war film. The Iraq War movies are supposed to be immoral. Through an analysis of these two major developments, The author finds that the films from the Vietnam War to the Iraq War, despite the obvious shortcomings of the film, such as the stress of the "masculine" trauma symptoms and violent catharsis, decriminalize the killing of soldiers. And in the healing process there is still a lack of atonement for the people in the area of aggression, and the Iraqi war films have made great progress in four areas, namely, victims of trauma, violent catharsis, social support and the search for "culprits." Progress is even more positive. From Vietnam War movies to Iraq War movies, trauma victims range from only soldiers to family members of American citizens, especially soldiers, who have expanded to include the back of the US war. Victims of trauma have received better social support, the violent catharsis of trauma has changed from morality in Vietnam war movies to immorality in Iraq war movies, and violent catharsis has been criticized. Finally, in the search for the "culprit," Vietnam war movies blame women's apathy for preventing soldiers from returning to society, but Iraqi war movies blame fathers, as symbols of patriarchal culture, as the real source of war trauma. The Iraq War not only expanded the scope of the victims, presented how to carry out reasonable psychological healing, but also used their psychological trauma instead of merely shaping the image of the victims. Criticizing the identity of American soldiers as invaders and murderers and the American culture of war. Therefore, despite its obvious shortcomings, such as too much emphasis on the traumatic symptoms of "masculinity" and violent catharsis, it still decriminalizes the killing of soldiers, And in the healing process still lacking any atonement for the invading people, traumatic screen shaping has made considerable progress.
【學(xué)位授予單位】：北京外國(guó)語(yǔ)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J905

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