本文選題：中國西部電影　切入點：核心　出處：《南京師范大學》2013年碩士論文

【摘要】：誕生于1980年代的中國西部電影,是新時期中國電影復興的起點,也是中國電影走向世界的原點。在這一時期的西部電影中,西部空間、西部文化與西部精神的統(tǒng)一,不僅揭示出了中國西部電影的本質(zhì)核心,同時也體現(xiàn)出了中國西部電影與西部少數(shù)民族電影、美國西部片之間的根本不同。由于受到社會政治、經(jīng)濟、文化語境的深刻影響,1980年代的西部電影建構(gòu)了中國西部電影早期的美學特征。這種特征表現(xiàn)為影片的啟蒙主題、現(xiàn)實主義風格,以及西部人在與自然、命運的對抗中,在傳統(tǒng)與現(xiàn)代、保守與開放的矛盾沖突中,所體現(xiàn)出的堅韌、敦厚、自強不息的西部精神。然而,西部電影的這種美學特征伴隨著1990年代以來,中國電影的全球化、市場化、產(chǎn)業(yè)化進程而土崩瓦解。1990年代以來的西部電影或者直接將敘事時空置于模糊化的“過去”與抽象化的沙漠、古堡、黃河故道里,來講述那些遙遠的民間“傳奇”；或者淡化敘事時空的獨特性,回避社會普遍性的矛盾問題,轉(zhuǎn)而講述個人化的生存體驗或獨特經(jīng)歷。疏遠與回避的主要目的,就是要更多地滿足消費時代人們的娛樂需求,拯救票房危機。然而,當人們將拯救市場票房作為發(fā)展西部電影的當務之急,將西部空間與西部文化作為西部電影的商業(yè)賣點時,卻忽視了承繼1980年代西部電影所開創(chuàng)的西部精神對于發(fā)展西部電影的重要性,這就使得1990年代以來的西部電影,因西部精神的逐步缺失而陷入一種危機之中。因此,面對當下西部電影中所出現(xiàn)的西部精神的瓦解與西部電影特性消失的現(xiàn)狀,只有堅守西部電影的現(xiàn)實主義傳統(tǒng),堅守西部電影中西部空間、西部文化與西部精神相統(tǒng)一的核心,才能實現(xiàn)西部電影的產(chǎn)業(yè)化發(fā)展,實現(xiàn)西部電影的早日復興。
[Abstract]:The western Chinese film, born in 1980's, is the starting point of Chinese film renaissance in the new period and the origin of Chinese film to the world.In the western films of this period, the unity of the western space, the western culture and the western spirit not only reveals the essential core of the western Chinese films, but also embodies the western Chinese films and the western minority films.The fundamental difference between American westerns.Influenced by the social political, economic and cultural context, the western films in the 1980s constructed the early aesthetic characteristics of the western films in China.This characteristic is reflected in the enlightenment theme of the film, the realistic style, and the tenacity and tenacity embodied by the westerners in the confrontation with nature and destiny, in the conflict between tradition and modernity, between conservatism and openness.The spirit of self-improvement in the west.However, this aesthetic feature of western films has been accompanied by the globalization and marketization of Chinese films since the 1990s.The process of industrialization collapses. The western movies since the 1990s or directly place the narrative space and time in the vague "past" and the abstract desert, castle, the Yellow River old road, to tell those distant folk "legend";Or desalinate the uniqueness of narrative time and space, avoid the contradiction of social universality, and talk about personal existence experience or unique experience.The main purpose of alienation and avoidance is to meet the entertainment needs of consumers and save the box-office crisis.However, when people regard saving the market box office as the top priority in the development of western movies and the western space and culture as the commercial selling points of western films,However, it ignores the importance of inheriting the western spirit created by the western movies in the 1980s for the development of the western movies, which makes the western movies since the 1990s fall into a crisis because of the gradual absence of the western spirit.Therefore, in the face of the disintegration of the western spirit and the disappearance of the characteristics of the western movies, we can only adhere to the realistic tradition of the western movies and hold fast to the space of the central and western regions of the western movies.The core of the unity of the western culture and the western spirit can realize the industrialization development of the western film and realize the early revival of the western film.
【學位授予單位】：南京師范大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J905

【參考文獻】

相關(guān)期刊論文 前4條

1 趙園;關(guān)于這個民族的詩——談影片《黃土地》[J];當代電影;1985年02期

2 鄭洞天;《野山》拾萃[J];當代電影;1986年01期

3 莫言;影片《紅高粱》觀后雜感[J];當代電影;1988年02期

4 王富仁;;中國西部電影簡論[J];東岳論叢;2009年02期

，

本文編號：1722572