本文選題：軍事電影　切入點(diǎn)：愛情敘事　出處：《河北師范大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：愛情是文學(xué)和電影創(chuàng)作中永恒的主題，中國當(dāng)代軍事題材電影中的愛情敘事在不同的歷史時期彰顯出了不同的敘事特點(diǎn)，從而也形成了獨(dú)具中國特色的紅色戀情模式。筆者重點(diǎn)從歷時性的角度來研究中國當(dāng)代軍事題材電影中愛情敘事的嬗變軌跡，并在文章最后簡略地與主流好萊塢軍事電影中的愛情敘事進(jìn)行了比較。 從歷時性的角度看，從情歸革命到情歸個人再到情與商業(yè)的合謀，中國當(dāng)代軍事題材電影中的愛情逐漸地開始順應(yīng)時代的發(fā)展，回歸生活，回歸個人，愛情也成為影片重點(diǎn)言說的對象。 十七年時期，在政治意識形態(tài)的高度規(guī)訓(xùn)下，愛情描寫在軍事題材電影中不能占有重要的地位。這時期的愛情敘事呈現(xiàn)的特點(diǎn)是始終將革命作為第一敘事主題，戀情只能作為第二主題輔助于革命的發(fā)展，為革命服務(wù)，因此十七年時期的軍人之愛歸屬于革命的范疇。 八十年代隨著思想解放運(yùn)動的深入發(fā)展，軍事影片創(chuàng)作者們開始關(guān)注軍人的情感生活，出現(xiàn)了很多表現(xiàn)人情、人性的電影作品，這一時期的軍人之愛開始逐漸地回歸到日常生活當(dāng)中，個人情感的被重視以及被書寫，，使得八十年代的軍人之愛歸屬于個人的范疇。 二十世紀(jì)九十年代之后，中國社會的政治環(huán)境、經(jīng)濟(jì)環(huán)境、文化環(huán)境都發(fā)生了巨大的改變，軍事影片的創(chuàng)作者們開始在敘事、制作和營銷等諸多方面，吸收和借鑒商業(yè)電影的運(yùn)作模式，他們開始轉(zhuǎn)變敘事策略，將革命作為背景，而把愛情作為敘事重點(diǎn)加以突出，因此九十年代之后，軍事影片中的愛情敘事呈現(xiàn)出了與商業(yè)、娛樂合謀的特征。 但是從共時性的角度看，與主流好萊塢軍事電影中的愛情敘事相比較，中國當(dāng)代軍事題材的影片在通過愛情來闡述“戰(zhàn)爭與人”的關(guān)系方面，大多還停留在“言情”的層面，缺少深層次的人性內(nèi)涵的挖掘。
[Abstract]:Love is an eternal theme in literature and film creation. The narrative of love in Chinese contemporary military movies shows different narrative characteristics in different historical periods. The author focuses on the transmutation of love narration in Chinese military movies from a diachronic point of view. At the end of the article, a brief comparison is made with the love narration in the mainstream Hollywood military movies. From a diachronic point of view, from the revolution to the individual to the collusion between emotion and commerce, the love in the contemporary Chinese military movies gradually began to conform to the development of the times, to return to life, to return to the individual. Love has also become the focus of the film. During the 17 years, under the high discipline of political ideology, love description can not occupy an important position in military movies. The characteristic of love narrative in this period is that revolution is always regarded as the first narrative theme. Love can only serve the revolution as the second theme, so the love of the soldiers in 17 years belongs to the revolution. With the further development of the ideological liberation movement in the 1980s, military film creators began to pay attention to the emotional life of soldiers, and there appeared many films that showed human feelings and human nature. In this period, the military love began to return to the daily life gradually, the personal emotion was valued and written, which made the military love in the eighties belong to the personal category. Since the 1990s, great changes have taken place in the political, economic and cultural environment of China's society. The creators of military films have begun to write about, produce and market many aspects, such as narration, production and marketing. Absorbing and drawing lessons from the operation mode of commercial film, they began to change narrative strategy, regard revolution as background, and highlight love as narrative emphasis. Therefore, after the 1990s, the love narrative in military films appeared to be commercial. The characteristic of collusion. But from a synchronic point of view, compared with the love narration in mainstream Hollywood military movies, Chinese contemporary military films are still mostly at the level of "love" in explaining the relationship between "war and man" through love. Lack of deep human connotation excavation.
【學(xué)位授予單位】：河北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J905

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