本文選題：成瀨巳喜男　切入點(diǎn)：今村昌平　出處：《浙江大學(xué)》2014年碩士論文

【摘要】：成瀨巳喜男和今村昌平恰好代表了日本女性電影的兩種傾向。成瀨巳喜男繼承了五所平之助、小津安二郎的價(jià)值體系,再加上自己的悲觀主義,形成了自己的風(fēng)格。而今村昌平受西方文化影響,大膽質(zhì)疑和顛覆前輩的理論體系。成瀨巳喜男的電影大多講述女性悲劇命運(yùn),人物簡單,線索也不復(fù)雜,多是在室內(nèi)拍攝,拍攝周期較短,而今村昌平野心巨大,場景豐富,人物復(fù)雜,拍攝成本高。前者風(fēng)格穩(wěn)定,成本適中,懂得變通,拍攝某種有穩(wěn)定觀眾群的主題的電影；后者格調(diào)清高,執(zhí)著于藝術(shù)追求,拍攝的作品卻無法受到大多數(shù)觀眾的認(rèn)同。前者顯然更受制片方的青睞,而后者可能在藝術(shù)上獲得更高的成就。他們的電影差異首先體現(xiàn)在人性觀上：成瀨巳喜男認(rèn)為人是社會動物,社會中的道德和法律約束著人的本性,他的女主角幾乎個(gè)個(gè)溫柔堅(jiān)強(qiáng),忍辱負(fù)重,雖然遭遇不幸但從不放棄,身處逆境但仍堅(jiān)持道德底線,以至于將幸福拒之門外,擁有東方男性審美下的一切女性美德,仿佛出淤泥而不染的“白蓮花”；今村昌平顯然是不同意這種觀點(diǎn)的,在他看來,人與其他動物并無本質(zhì)區(qū)別,除了“生、死、性”以外便無其他,他秉承的是西方“人性原罪”(0riginal Sin)的觀點(diǎn),“像動物一樣活著”才是人類生存的本質(zhì)。從美學(xué)追求上來說,成瀨巳喜男崇尚禪宗的幽靜美,而今村昌平恐怕要被歸為審“丑”行列。這種差異也體現(xiàn)在了演員選擇、音樂處理、片名選用、對情＼性愛場面描寫等各個(gè)層面。在敘事上,成瀨巳喜男的故事線索十分簡單,缺少變化,則往往呈現(xiàn)出“圓形敘事”的特質(zhì)。今村昌平的故事內(nèi)涵豐富,注重戲劇沖突,講究情節(jié)曲折,具有傳奇色彩,情節(jié)分散在多組人物身上,通常具有多條敘事線索。在鏡頭語言方面,成瀨巳喜男的調(diào)度比較循規(guī)蹈矩,而今村昌平在鏡頭語言上十分有想象力,經(jīng)常創(chuàng)作出令人印象深刻的鏡頭。
[Abstract]:Seto Seisi and Imamura Shohei exactly represent the two tendencies of Japanese women's films. Seto Seisi inherits five Hirahiro Hirahiro's value system, plus his own pessimism. His own style was formed. And Imamura Shohei, influenced by Western culture, dared to question and subvert the theoretical system of his predecessors. Most of the Seto Seisi's films relate to the tragic fate of women. The characters are simple, the clues are not complicated, and most of them are shot indoors. The shooting period is short, and Imamura Shohei is ambitious, rich in scenes, complex in characters, and high in cost. The former has a stable style, moderate cost, knows how to work with a certain theme with a stable audience; the latter has a fine style. Clinging to the pursuit of art, the work was not recognized by the majority of the audience. The former was obviously more popular with the producers. The latter are likely to achieve higher artistic achievement. Their film differences are primarily reflected in their view of human nature: Seto Seutsi thinks that man is a social animal, and that morality and law in society govern human nature. Almost all of his heroines are gentle and strong and bear with shame. Although they encounter misfortune but never give up, they still adhere to the moral bottom line in adversity, so that they shut out happiness and have all the female virtues of the Oriental male aesthetic. It was as if there were "white lotus flowers" that were muddy and unstained; and Imamura Shohei obviously disagreed with this view. In his view, there was no essential difference between man and other animals, and there was no such thing as "life, death, sex". He holds the view that "living like an animal" is the essence of human existence. In terms of aesthetic pursuit, Cheng Seto Xi Nan advocates the quiet beauty of Zen. And Imamura Shohei is probably going to be classified as the "ugly" category. This difference is also reflected in the choice of actors, music processing, film title selection, depiction of love / sex scenes, and so on. In narration, the storyline of Seto si is very simple. In the absence of change, the character of "circular narration" is often presented. Imamura Shohei's story is rich in connotation, focuses on dramatic conflicts, stresses the twists and turns of the plot, and has a legendary color. The plot is scattered over many groups of characters. In terms of lens language, Seto si's schedule is more regular, while Imamura Shohei is very imaginative in lens language and often creates impressive shots.
【學(xué)位授予單位】：浙江大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J905

【相似文獻(xiàn)】

相關(guān)期刊論文 前10條

1 王曉玉;;寂靜的燦爛——用影像緬懷今村昌平[J];電影;2006年09期

2 彭小蓮;;《豬與軍艦》今村昌平的大手筆[J];南方人物周刊;2010年27期

3 彭小蓮;;《紅色殺機(jī)》今村昌平的狠勁[J];南方人物周刊;2010年28期

4 許蘇;廖祖峰;;論今村昌平電影的平民意識[J];電影評介;2006年15期

5 許蘇;王彥兵;廖祖峰;;大師走過的足跡——日本導(dǎo)演今村昌平創(chuàng)作歷程談[J];電影新作;2006年05期

6 周雋;;今村昌平電影的女性主題[J];南通大學(xué)學(xué)報(bào)(社會科學(xué)版);2008年05期

7 許蘇;廖婷;王慶華;;今村昌平電影的女性文化讀解[J];江西社會科學(xué);2010年01期

8 龐弘;;生存困境與自我拯救——對今村昌平影片《鰻魚》的存在主義解讀[J];藝苑;2013年05期

9 陳葦;;今村昌平從下半身與底層出發(fā)[J];南方人物周刊;2006年14期

10 彭小蓮;;《亂世浮生》的詩意[J];南方人物周刊;2010年32期

相關(guān)重要報(bào)紙文章 前2條

1 本報(bào)評論員 唐學(xué)鵬;今村昌平的影像美學(xué)與勞工命運(yùn)[N];21世紀(jì)經(jīng)濟(jì)報(bào)道;2006年

2 吳萍;金基德：邁入人性迷宮的探索者[N];文藝報(bào);2014年

相關(guān)碩士學(xué)位論文 前5條

1 張雪瑩;男性意識下的女性世界—成瀨巳喜男與今村昌平的女性電影比較[D];浙江大學(xué);2014年

2 賈文萱;論今村昌平電影創(chuàng)作[D];重慶大學(xué);2009年

3 張莉莉;今村昌平電影“身體”話語解讀[D];首都師范大學(xué);2014年

4 唐若尋;淺析今村昌平電影中的“鄉(xiāng)俗”及其背后的“人性”[D];中國美術(shù)學(xué)院;2014年

5 田玲;在混亂與自然中書寫沉重[D];南京師范大學(xué);2008年

，

本文編號：1691667