本文選題：驚悚電影 + 封閉空間　； 參考：《陜西師范大學(xué)》2013年碩士論文

【摘要】：近幾年來,驚悚電影在國(guó)內(nèi)電影市場(chǎng)上掀起了一股流行的風(fēng)潮,驚悚電影重新成為新主打類型。但是長(zhǎng)期以來,對(duì)于驚悚電影的研究鮮有論及,大多數(shù)理論多集中于敘事研究,一直以來強(qiáng)調(diào)時(shí)間對(duì)敘事的構(gòu)建作用,但在驚悚電影中經(jīng)常要運(yùn)用空間作為表現(xiàn)元素來營(yíng)造氛圍推動(dòng)情節(jié)發(fā)展,空間的作用就顯得尤為重要。美國(guó)驚悚電影作為成功的類型電影,內(nèi)部故事結(jié)構(gòu)的表現(xiàn)方式以及外在的市場(chǎng)運(yùn)營(yíng)都表現(xiàn)出成熟的一面,有必要給予相應(yīng)的關(guān)注和研究。因此,本文從封閉空間角度對(duì)中美兩國(guó)驚悚電影進(jìn)行差異對(duì)比分析,研究驚悚電影中的敘事設(shè)置和氛圍營(yíng)造,為國(guó)內(nèi)驚悚電影的研究提供借鑒。 本論文共分為四個(gè)部分：第一章是中美驚悚電影概說,分別介紹各國(guó)驚悚電影的發(fā)展現(xiàn)狀并界定驚悚電影類型和定義,此外還具體闡述了中美驚悚電影的發(fā)展?fàn)顩r。第二章是在結(jié)合空間理論下對(duì)電影空間進(jìn)行梳理,并著重分析電影空間的敘事功能,并提出封閉空間的表現(xiàn)方式和敘事涵義。第三章是本論文的重點(diǎn)段落。通過對(duì)中美兩國(guó)驚悚電影進(jìn)行內(nèi)容分析后,從“孤島”空間、“鐵屋”空間、“心理”空間三方面對(duì)驚悚電影中封閉環(huán)境做對(duì)比分析。論文第四章分析造成差異的原因,并在此段落闡述內(nèi)地驚悚電影發(fā)展面臨的困境并探討中國(guó)驚悚電影發(fā)展的方向。 整篇論文以四部分內(nèi)容論述驚悚電影中封閉空間的多層次建構(gòu)以及在封閉空間中的敘事呈現(xiàn)和環(huán)境營(yíng)造,凸顯其空間的價(jià)值和意義,為中國(guó)驚悚電影的發(fā)展提供某種有益的嘗試。
[Abstract]:In recent years, thriller films in the domestic film market has set off a popular trend, thriller film has become a new major type.However, for a long time, there has been little discussion on the research of thriller films. Most of the theories focus on narrative studies, and have always emphasized the role of time in the construction of narration.However, in thriller films, space is often used as a performance element to create atmosphere to promote plot development, the role of space is particularly important.American thriller film as a successful type of film, the performance of the internal story structure as well as the external market operation all show mature side, it is necessary to give corresponding attention and research.Therefore, from the angle of closed space, this paper makes a comparative analysis of the differences between Chinese and American thriller films, studies the narrative settings and atmosphere construction in thriller films, and provides a reference for the study of domestic thriller films.This thesis is divided into four parts: the first chapter is an overview of Chinese and American thriller films, respectively introducing the development of thriller films in different countries and defining the types and definitions of thriller films.The second chapter combs the film space in combination with the space theory, and emphatically analyzes the narrative function of the film space, and puts forward the expression mode and narrative meaning of the closed space.The third chapter is the key paragraph of this paper.After analyzing the contents of Chinese and American thriller films, this paper makes a comparative analysis of the closed environment in thriller films from the three aspects of "isolated island" space, "iron house" space and "psychological" space.The fourth chapter analyzes the causes of the differences, and in this paragraph describes the difficulties facing the development of mainland thriller films and discusses the direction of the development of Chinese thriller films.The whole paper discusses the multi-level construction of the closed space in the thriller film, the narrative presentation and the environment construction in the closed space, which highlights the value and significance of the space.Provide some useful attempt for the development of Chinese thriller film.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J905

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本文編號(hào)：1757249