本文選題：奉俊昊　切入點(diǎn)：主題　出處：《河北大學(xué)》2015年碩士論文

【摘要】：二十世紀(jì)九十年代末,電影界的“韓流”可謂“風(fēng)光無(wú)限”。中國(guó)電影市場(chǎng)的逐步開(kāi)放,為電影界的“韓流”在中國(guó)的發(fā)展提供了有利條件。因此,《我的野蠻女友》《生死諜變》《殺人回憶》《漢江怪物》等影片不但屢破票房紀(jì)錄,而且頗受業(yè)界好評(píng),大有席卷整個(gè)亞洲的趨勢(shì)。奉俊昊憑借其獨(dú)樹(shù)一幟的藝術(shù)風(fēng)格在韓國(guó)影壇眾多杰出人才中成為最引人注目的導(dǎo)演之一。從處女作《綁架門(mén)口狗》到2014年剛剛上映的《雪國(guó)列車(chē)》,奉俊昊已有五部長(zhǎng)篇電影問(wèn)世,這些影片榮獲了韓國(guó)電影大鐘獎(jiǎng)、青龍獎(jiǎng)、乃至亞洲各大電影獎(jiǎng)項(xiàng),并得到國(guó)際影壇的一致肯定。伴隨著《雪國(guó)列車(chē)》的熱映,觀眾和電影評(píng)論界又掀起了一陣“奉俊昊熱潮”。當(dāng)下影壇中能將電影的藝術(shù)性與商業(yè)性完美結(jié)合的導(dǎo)演并不多,奉俊昊算是其中一個(gè),他的影片《殺人回憶》《怪物》《母親》等既叫好又叫座。此外,奉俊昊在執(zhí)導(dǎo)之余還參與劇本創(chuàng)作,形成了屬于自己的個(gè)性化電影體系,他對(duì)類型片的執(zhí)導(dǎo)極為駕輕就熟,其導(dǎo)演藝術(shù)十分值得研究借鑒。本論文將奉俊昊放置于韓國(guó)時(shí)代、社會(huì)、文化的大背景下去研究他導(dǎo)演風(fēng)格的形成過(guò)程,并對(duì)其電影作品進(jìn)行梳理,力求對(duì)他作品中意蘊(yùn)深遠(yuǎn)的電影主題、獨(dú)具特色的敘事模式和視覺(jué)藝術(shù)展開(kāi)深入分析,走進(jìn)他獨(dú)特的電影藝術(shù)世界。
[Abstract]:At the end of the 1990s, the "Korean Wave" in the film industry could be described as "boundless scenery." with the gradual opening up of the Chinese film market, This has provided favorable conditions for the development of the Korean Stream in China. Therefore, films such as "my barbaric girlfriend" "impossible," "memories of murder" and "the Monster of the Han River" not only break the box office record repeatedly, but are also well received by the industry. The trend is sweeping across Asia. For his unique artistic style, Feng Junhao has become one of the most prominent directors in the Korean film world. From his debut, kidnapping Dog, to just released in 2014, Feng Junhao became one of the most prominent directors in Korean film industry. In "Snow State Train", Feng Junhao has already produced five long films. These films have won the Korean Film Awards, the Azure Dragon Awards, and even the major Asian film awards, and have been unanimously acknowledged by the international film world. The audience and film critics have set off another "Feng Junhao craze." there are not many directors in the film world who can perfectly combine the artistic and commercial aspects of the film, and Feng Junhao is one of them. In addition, Feng Junhao also participated in the script writing while directing, forming his own personalized film system. He was extremely familiar with the directing of type films. This paper puts Fengjun Hao in the background of Korean era, society and culture to study the forming process of his directing style, and combs his film works. This paper tries to make an in-depth analysis of the profound film theme, the unique narrative mode and visual art in his works, and enters his unique film art world.
【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】：2015
【分類號(hào)】：J911

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本文編號(hào)：1697135