本文選題：謎題電影　切入點：經(jīng)典敘事模式　出處：《重慶大學(xué)》2014年碩士論文

【摘要】：謎題電影自上個世紀90年代風(fēng)靡世界以來，引起了國內(nèi)外眾多學(xué)者的關(guān)注和研究。本文將對大衛(wèi)·波德威爾、沃倫·巴克蘭、芭芭拉·科林格等國外知名學(xué)者的謎題電影理論進行分析研究，然后指出其理論中存在的缺口，從而對謎題電影進行重新界定和劃分。本文作者認為對謎題電影的探討應(yīng)該建立在三個方面，分別是其背后特殊的文化語境，題材選擇和主題表達上的“邊緣趣味”，敘事機制上所體現(xiàn)出的謎題敘事結(jié)構(gòu)�；谶@三方面，謎題電影體現(xiàn)出了一種獨特的審美機制。 首先，本文認為謎題電影在上個世紀90年代繁榮的原因在于文化語境的變化，謎題電影的創(chuàng)作者們受到后現(xiàn)代主義、精神分析學(xué)說、電子游戲以及互聯(lián)網(wǎng)的影響。其次，謎題電影的題材選擇和主題表達上也體現(xiàn)出了獨特的審美趣味，其題材多涉及靈異事件、宗教、強盜、科幻等不同的類型。主題表達上體現(xiàn)出對個體精神困境的關(guān)注。再者，筆者認為謎題電影的研究突破點在于其敘事結(jié)構(gòu)層面。謎題電影以其獨特的敘事機制區(qū)別于好萊塢經(jīng)典影片中的“三幕劇”劇作結(jié)構(gòu)，，是對經(jīng)典敘事的一種創(chuàng)新和顛覆。然后又對謎題電影的敘事機制進行了相應(yīng)的研究，謎題電影分別通過限制性視角的運用，多結(jié)構(gòu)模式的運用以及開放式的結(jié)尾來構(gòu)建謎題敘事。最后通過諾蘭電影中體現(xiàn)出的謎題敘事與好萊塢經(jīng)典敘事模式的融合，來探討謎題電影的未來趨勢。并對部分華語謎題電影的分析來探討其體現(xiàn)出來的優(yōu)勢和不足。 筆者希望通過對謎題電影的研究，可以對華語謎題電影的創(chuàng)作有一定的啟示和借鑒意義，從而一定意義上促進中國電影產(chǎn)業(yè)的發(fā)展。
[Abstract]:The puzzle film has attracted the attention and research of many scholars at home and abroad since it swept the world in the 1990s. Barbara Colinger and other famous foreign scholars analyzed and studied the puzzle film theory, and then pointed out the gaps in its theory. The author thinks that the discussion of riddle film should be based on three aspects, which are the special cultural context behind it. The "marginal interest" in theme selection and theme expression, and the narrative structure of puzzles embodied in narrative mechanism. Based on these three aspects, the puzzle film embodies a unique aesthetic mechanism. First of all, this paper argues that the reason for the prosperity of puzzle films in the 1990s lies in the change of cultural context. The creators of riddle films are influenced by postmodernism, psychoanalysis, video games and the Internet. The theme choice and theme expression of riddle film also reflect the unique aesthetic interest, its subject matter mostly involves different types such as spiritual event, religion, robber, science fiction and so on. The theme expression manifests the concern to individual spiritual predicament. The author thinks that the breakthrough in the research of riddle film lies in its narrative structure, which is different from the structure of "three acts play" in the classic Hollywood film with its unique narrative mechanism. It is an innovation and subversion of classical narration. Then the narrative mechanism of riddle film is studied accordingly. The use of multi-structure model and the open end to construct riddle narration. Finally, through the fusion of riddle narration and Hollywood classic narrative mode in Nolan film, To explore the future trends of puzzles, and to explore the advantages and disadvantages of some Chinese puzzles. The author hopes that through the research of riddle film, it can give some enlightenment and reference to the creation of Chinese puzzle film, and thus promote the development of Chinese film industry in a certain sense.
【學(xué)位授予單位】：重慶大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J905

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