發(fā)布時(shí)間：2018-03-28 22:01

  本文選題：底層　切入點(diǎn)：賈樟柯　出處：《華東師范大學(xué)》2014年碩士論文

【摘要】：九十年代特殊的全球化社會(huì)語(yǔ)境,為賈樟柯等“第六代”導(dǎo)演提供了一個(gè)難得的登場(chǎng)機(jī)會(huì)。作為“第六代”導(dǎo)演中日漸成熟的創(chuàng)作型導(dǎo)演,賈樟柯自覺的藝術(shù)追求、自覺的“底層代言”沖動(dòng)使他在“新生代”電影人中走得最遠(yuǎn)也最具代表性。其影片冷峻紀(jì)實(shí)的電影風(fēng)格、對(duì)中國(guó)底層社會(huì)的客觀白描是獲得西方電影節(jié)盛譽(yù)的重要原因。本文以時(shí)間為線索,以賈樟柯“地下電影時(shí)期”與“浮出地表”兩個(gè)時(shí)期的代表性影片為分析素材,借助賽義德東方主義理論以及敘事學(xué)方法,試圖對(duì)賈樟柯電影進(jìn)行細(xì)致的敘事文本研究,考察在客觀紀(jì)實(shí)的敘事下其電影的東方主義表現(xiàn)。 第一章緒論部分從賈樟柯電影的形象分析、市場(chǎng)營(yíng)銷、電影敘事、電影美學(xué)等方面介紹了賈樟柯電影的研究現(xiàn)狀。第二章“故鄉(xiāng)三部曲”時(shí)期電影敘事分析；本章論述了從一炮而紅的《小武》及至《站臺(tái)》、《任逍遙》,賈樟柯以碎片化記錄策略與史詩(shī)敘事結(jié)構(gòu)作品,將底層世界的貧窮、墮落的原因間接地歸于了底層自身——這成為賈樟柯放映當(dāng)代社會(huì)的主要手法；同時(shí)論述了賈樟柯潛在的“意象戀物”與對(duì)內(nèi)、對(duì)外的雙重?cái)⑹虏呗�。他以中�?guó)西部?jī)?nèi)陸的落后狀態(tài)作為表現(xiàn)對(duì)象,底層的功能在其電影中變得暖昧。第三章繼續(xù)考察賈樟柯走出“故鄉(xiāng)”時(shí)期的影片敘事。雖經(jīng)歷了由“地下”到“地表”的巨大轉(zhuǎn)變,賈樟柯聚焦的仍舊是社會(huì)底層民眾的危機(jī)。浮出地表后賈樟柯以獨(dú)樹一幟的形式探索挑戰(zhàn)觀眾預(yù)期,國(guó)際化符號(hào)成為《世界》最顯眼的標(biāo)志。其敘事模式由“故鄉(xiāng)三部曲”中離散的碎片化敘事走向《三峽好人》、《天注定》中的板塊化敘事。浮出地表后的賈樟柯,故鄉(xiāng)經(jīng)驗(yàn)資源耗盡,美學(xué)上也同樣遇到困境,這導(dǎo)致他對(duì)其他經(jīng)驗(yàn)資源的改編也出現(xiàn)重大變化,最終走向了描繪壓迫與暴力。其影片中主角多是落后東方壓抑下的異化人,并且處于一種非正常狀態(tài)。與影片蕭條的內(nèi)地票房相反,底層導(dǎo)演賈樟柯在極其成功的商業(yè)運(yùn)作基礎(chǔ)上取得了商業(yè)上的巨大成功。同時(shí),對(duì)其電影也有著爭(zhēng)議之處,賈樟柯的“底層奇觀”作為“他者”被用于補(bǔ)足西方對(duì)中國(guó)的預(yù)期,其以西方獲獎(jiǎng)為標(biāo)準(zhǔn)的東方主義化心態(tài)是有待改變的。
[Abstract]:The special global social context of the 1990s provides a rare opportunity for Jia Zhangke and other "sixth generation" directors to make their debut. As an increasingly mature creative director among the "sixth generation" directors, Jia Zhangke consciously pursues art. His conscious impulse to "underlevel endorsement" made him the furthest and most representative of the "new generation" filmmakers. The objective description of China's underclass society is an important reason for gaining the reputation of western film festivals. This paper takes time as the clue and takes Jia Zhangke's representative films of "Underground Film period" and "surfacing the Surface" as the analysis material. With the aid of said Orientalism theory and narratology, this paper attempts to study the narrative text of Jia Zhangke's films and investigate the orientalism performance of his films under the objective documentary narration. The first chapter introduces the current situation of Jia Zhangke's films from the aspects of image analysis, marketing, film narration, film aesthetics and so on. This chapter discusses how Jia Zhangke, from "Xiaowu" to "platform" and "Ren Xiaoyao", put poverty at the bottom of the world by means of piecemeal recording strategy and epic narrative structure. The reason of depravity is indirectly attributed to the bottom itself, which has become the main technique of Jia Zhangke's projection of contemporary society, and it also discusses Jia Zhangke's potential "image love" and its internal relations. He takes the backward state of western China's interior as his object of expression. In the third chapter, we continue to investigate Jia Zhangke's narration in the period of "hometown". Although he has undergone a great transformation from "underground" to "surface", Jia Zhangke is still focusing on the crisis of the people at the bottom of society. When he surfaced on the surface, Jia Zhangke explored and challenged audience expectations in a unique way. The internationalized symbol has become the most conspicuous symbol of the World. Its narrative pattern has changed from the fragmented narrative in the hometown Trilogy to the "good people in the three Gorges" and the "doomed days" to the "group narration" in which Jia Zhangke emerged from the earth's surface. In his hometown, he ran out of experience resources and also encountered difficulties in aesthetics, which led to great changes in his adaptation of other experience resources, and eventually led to the depiction of oppression and violence. The main characters in his films were mostly alienated people who were suppressed by the backward East. And is in an abnormal state. Contrary to the film's depressed mainland box office, underlying director Jia Zhangke has achieved great commercial success on the basis of extremely successful commercial operations. At the same time, there are also controversies about his films. Jia Zhangke's "bottom wonders" are used as "other" to complement the western expectations of China, and his Orientalism mentality, which is based on the western award winning criteria, needs to be changed.
【學(xué)位授予單位】：華東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J905

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