本文選題：犯罪題材　切入點(diǎn)：類型元素　出處：《阜陽(yáng)師范學(xué)院》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：在消費(fèi)語(yǔ)境中,犯罪題材電影因其選材的敏感性和表現(xiàn)手法的風(fēng)格化而別具魅力,吸引觀眾眼球的同時(shí)也獲得了資本與市場(chǎng)的青睞,故而內(nèi)地犯罪題材電影,在新世紀(jì)這一電影產(chǎn)業(yè)改革深化期有了長(zhǎng)足的發(fā)展。新世紀(jì)以來(lái)內(nèi)地犯罪題材電影采用更靈活的敘事手段,主動(dòng)融入類型元素,呈現(xiàn)出多樣的表現(xiàn)形態(tài)。電影人一面對(duì)類型電影進(jìn)行學(xué)習(xí)與借鑒,一面結(jié)合本土化策略生產(chǎn)出不同式樣的影片。比如,寧浩極具草根氣質(zhì)的黑色喜劇作品、曹保平亦莊亦諧的劇情片、丁晟風(fēng)格硬朗的警匪片及攜帶類型元素的藝術(shù)片等等,這些形態(tài)各異的影片營(yíng)造了新世紀(jì)電影市場(chǎng)百花齊放的格局。新世紀(jì)內(nèi)地犯罪題材電影在表達(dá)特色上擁有高度自覺(jué)性,電影人對(duì)本土電影的影像表達(dá)和電影語(yǔ)法進(jìn)行了摸索與創(chuàng)新。首先,犯罪題材電影將空間設(shè)置與倫理表述進(jìn)行結(jié)合,深度挖掘人性與社群性格,暴露轉(zhuǎn)型時(shí)期社會(huì)存在的各種問(wèn)題。其次,內(nèi)地犯罪題材電影通過(guò)方言塑造了底層人物及邊緣人物形象并透析了方言背后的地域文化。再次,新世紀(jì)內(nèi)地犯罪題材電影對(duì)角色心理進(jìn)行深入挖掘,嘗試運(yùn)用心理進(jìn)行敘事。新世紀(jì)內(nèi)地犯罪題材電影從借鑒到總結(jié)經(jīng)驗(yàn)再到實(shí)驗(yàn)創(chuàng)新,由此衍生出一批別具一格的作品。市場(chǎng)和電影人一道向西方電影、港臺(tái)電影、韓國(guó)電影學(xué)習(xí),在實(shí)踐中逐漸總結(jié)出適宜中國(guó)電影市場(chǎng)的經(jīng)驗(yàn),并通過(guò)實(shí)驗(yàn)與創(chuàng)新生產(chǎn)出天馬行空的作者電影及獨(dú)特的青春片。新世紀(jì)內(nèi)地犯罪題材電影是當(dāng)代中國(guó)電影的生力軍,匯集了諸多優(yōu)秀的電影人才,代表著內(nèi)地電影行業(yè)的較高水準(zhǔn)。本文通過(guò)對(duì)犯罪題材電影進(jìn)行系統(tǒng)地梳理與考察,觸摸到中國(guó)電影行業(yè)的脈搏,從具體作品出發(fā),正視行業(yè)當(dāng)前的進(jìn)步與困境,提出在商業(yè)與藝術(shù)之間尋求平衡的解決對(duì)策。
[Abstract]:In the context of consumption, crime films are attractive because of their sensitivity to material selection and stylization of their methods of expression, attracting the attention of the audience and gaining the favor of the capital and the market at the same time. In the new century, during the period of deepening the reform of the film industry, great progress has been made. Since the new century, mainland crime films have adopted more flexible narrative methods and actively integrated into the elements of type. There are various forms of expression. Filmmakers learn and learn from genre films, and on the other hand produce films of different styles in combination with the localization strategy. For example, Ning Hao's black comedy works, which have a very grassroots temperament, Cao Baoping also played drama films by Chuang Yi-heng, Ding Sheng's hard-headed police and bandit films, art films with type elements, and so on. These films of various shapes have created a pattern of blooming in the film market in the new century. The mainland crime films of the new century have a high degree of consciousness in expressing their characteristics. The filmmakers grope and innovate the image expression and the movie grammar of the local film. Firstly, the crime theme film combines the space setting with the ethics expression, excavates the humanity and the community character deeply. Secondly, the crime film in the mainland molds the image of the bottom character and the marginal figure through dialect and analyzes the regional culture behind the dialect. In the new century, the mainland crime movies deeply excavate the role psychology, try to use psychology to narrate. The new century mainland crime films from learning from summing up experience to experimental innovation, This gave rise to a number of unique works. The market and filmmakers learned from Western films, Hong Kong and Taiwan films, and Korean films. In practice, they gradually summed up experiences suitable for the Chinese film market. And through experiments and innovations, the author's films and unique youth films are produced. The mainland crime films of the new century are the fresh force of contemporary Chinese films, bringing together many excellent film talents. It represents the relatively high standard of the film industry in the mainland. By systematically combing and investigating the crime theme films, this paper touches the pulse of the Chinese film industry, starts from the concrete works, and faces up to the current progress and predicament of the industry. Put forward the solution that seeks balance between business and art.
【學(xué)位授予單位】：阜陽(yáng)師范學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J905

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