本文選題：中國(guó)災(zāi)難題材電影　切入點(diǎn)：缺失　出處：《河北大學(xué)》2014年碩士論文

【摘要】：中國(guó)災(zāi)難題材電影產(chǎn)生于1957年,經(jīng)過(guò)50多年的發(fā)展,卻沒(méi)有得到更多的觀眾和導(dǎo)演的重視,數(shù)量少、質(zhì)量差、票房低是中國(guó)災(zāi)難題材電影最直觀的現(xiàn)狀,和好萊塢災(zāi)難片相比差距顯著。 中國(guó)災(zāi)難題材電影在寫實(shí)化的進(jìn)程中,秉承了中國(guó)電影歷史傳統(tǒng),符合中國(guó)文化發(fā)展軌跡。中國(guó)早期災(zāi)難題材電影作為政治宣教工具,帶有主旋律特性,取材簡(jiǎn)單,劇情單一,敘事平緩,感情平淡的特點(diǎn)一直延續(xù)至今。進(jìn)入二十一世紀(jì)以來(lái),隨著中國(guó)以及中國(guó)電影的發(fā)展,災(zāi)難題材電影雖然在投資上得到制片方支持,但是仍然處于中國(guó)電影的邊緣境地。到目前為止,中國(guó)災(zāi)難題材電影的發(fā)展還處在比較困難的階段,營(yíng)造真實(shí)災(zāi)難場(chǎng)面技術(shù)落后,資金不充足,以及中國(guó)傳統(tǒng)特有的文化背景造成中國(guó)電影歷史上災(zāi)難題材電影的缺失。好萊塢災(zāi)難片在屢屢取得好票房成績(jī)的同時(shí),中國(guó)電影也應(yīng)該反思：災(zāi)難題材電影的缺失性問(wèn)題。災(zāi)難題材電影成為中國(guó)電影的短板之一,電腦技術(shù)的落后是一方面,更重要的是中國(guó)電影觀念和電影體質(zhì)問(wèn)題所在,而這些阻礙著中國(guó)發(fā)展災(zāi)難題材電影以及其他類型電影。 正是鑒于此,本研究著重探討中國(guó)災(zāi)難題材電影的現(xiàn)狀,并在其現(xiàn)狀中發(fā)現(xiàn)了中國(guó)災(zāi)難題材電影在劇本創(chuàng)作、敘事模式與策略、人物塑造、場(chǎng)景設(shè)置、視覺(jué)感受的缺失,根據(jù)缺失分析了其原因所在,最后通過(guò)筆者的研究,提出了一些對(duì)中國(guó)災(zāi)難題材電影能更好發(fā)展的策略。 由此,筆者得出結(jié)論,中國(guó)要想步入世界電影強(qiáng)國(guó)行列,必須在各個(gè)類型電影都有新的突破。在當(dāng)今以和平與發(fā)展為主題的時(shí)代,災(zāi)難影響著人類的生命安全,更維系著全世界人民的心。作為中國(guó)電影發(fā)展弱勢(shì)之一的災(zāi)難題材電影,更應(yīng)根據(jù)自身的發(fā)展特點(diǎn)和本土化的風(fēng)格以量變尋求質(zhì)變,形成自身獨(dú)特的災(zāi)難敘事,來(lái)吸引中國(guó)和世界各國(guó)觀眾的眼光,摒棄落后陳舊的思想,通過(guò)題材,劇本,情感的創(chuàng)新來(lái)增添中國(guó)災(zāi)難題材電影的新氣象,這才是中國(guó)廣大電影人想要看到的最終結(jié)果。
[Abstract]:Chinese disaster film originated in 1957, after more than 50 years of development, but did not get more attention from the audience and directors, less quantity, poor quality, low box office is the most intuitive situation of Chinese disaster film. Compared with Hollywood disaster film, the gap is significant. In the process of realistic portrayal of Chinese disaster films, they have inherited the historical tradition of Chinese films and are in line with the development track of Chinese culture. As a tool of political propaganda and education, Chinese early disaster films have the characteristics of main melody and simple materials. Since the 21 century, with the development of China and its films, disaster films have received support from the producers in terms of investment. But it is still on the edge of Chinese films. Up to now, the development of China's disaster-themed films is still at a relatively difficult stage. The technology of creating real disaster scenes is backward, and the funds are not sufficient. As well as the unique cultural background of Chinese tradition, resulting in the absence of disaster films in the history of Chinese films. Hollywood disaster films have made good box office results at the same time. Chinese films should also reflect on the lack of disaster films. Disaster films have become one of the shortcuts of Chinese films. The backwardness of computer technology is one of the most important problems in Chinese film concepts and film physique. These are hindering the development of disaster films and other types of films in China. In view of this, this study focuses on the current situation of Chinese disaster films, and finds out the absence of Chinese disaster films in script creation, narrative mode and strategy, character shaping, scene setting, visual feeling in the present situation. According to the lack of analysis of the reasons, finally through the author's research, put forward some Chinese disaster theme film can better development strategies. Therefore, the author concludes that if China wants to become a world movie power, it must make new breakthroughs in all kinds of films. In the era of peace and development, disaster affects the safety of human life. As one of the weak points in the development of Chinese films, the disaster theme films should seek qualitative changes according to their own development characteristics and localization style to form their own unique disaster narration. To attract the eyes of Chinese and other countries, to abandon outdated ideas, to add new atmosphere to Chinese disaster movies through the creation of themes, scripts and emotions. This is the final result that Chinese filmmakers want to see.
【學(xué)位授予單位】：河北大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J905

【參考文獻(xiàn)】

相關(guān)期刊論文 前5條

1 王翔宇;;中國(guó)災(zāi)難電影的形態(tài)與現(xiàn)實(shí)主義美學(xué)風(fēng)格[J];當(dāng)代電影;2008年11期

2 趙斌;;《超強(qiáng)臺(tái)風(fēng)》的觀眾修辭學(xué)[J];電影藝術(shù);2009年01期

3 王霄;;好萊塢黑色電影敘事模式的嬗變[J];電影文學(xué);2012年15期

4 王小平;;后現(xiàn)代“災(zāi)難電影”的敘事策略——評(píng)近年來(lái)災(zāi)難片的影像書寫[J];廊坊師范學(xué)院學(xué)報(bào)(社會(huì)科學(xué)版);2010年05期

5 張明;;論國(guó)產(chǎn)災(zāi)難片的迷失與突圍[J];中國(guó)電影市場(chǎng);2011年07期

，

本文編號(hào)：1674053