本文選題：小成本喜劇電影 + 新世紀(jì)　； 參考：《山東師范大學(xué)》2014年碩士論文

【摘要】：喜劇電影，是最能夠體現(xiàn)文化個(gè)性、民族風(fēng)情和審美情趣的電影類(lèi)型之一。然而中國(guó)喜劇電影卻沒(méi)能形成自己獨(dú)特的文化個(gè)性，始終沒(méi)有找到一條蓬勃發(fā)展的道路。幾十年來(lái)，中國(guó)喜劇電影搖擺在各種電影類(lèi)型之間，因?yàn)闆](méi)有合適的文化身份而步履維艱。然而就在2006年，一部《瘋狂的石頭》橫空出世，獲得了票房和口碑的雙贏。它的成功讓中國(guó)觀眾和電影人看到了國(guó)產(chǎn)喜劇發(fā)展的另一種可能性，并開(kāi)始對(duì)中國(guó)式喜劇的制作模式進(jìn)行重新思考。此后，眾多小成本喜劇電影應(yīng)運(yùn)而生并形成了一股浪潮，在新世紀(jì)迅速繁榮起來(lái)。本文旨在以中國(guó)小成本喜劇電影在新世紀(jì)以來(lái)的繁榮現(xiàn)象為切入點(diǎn)進(jìn)行梳理和分析，探究小成本喜劇電影的審美特質(zhì)，追尋其繁榮的原因，指出其存在的不足與問(wèn)題，從而為當(dāng)下中國(guó)小成本喜劇電影的發(fā)展提供理論鏡鑒。 本文共分為四章。第一章主要論述小成本喜劇電影的概念，對(duì)新世紀(jì)以來(lái)中國(guó)小成本喜劇電影的發(fā)展?fàn)顩r進(jìn)行梳理，具體闡釋中國(guó)喜劇電影發(fā)展中經(jīng)歷的文化轉(zhuǎn)型與變革，指出中國(guó)喜劇電影傳統(tǒng)對(duì)當(dāng)下中國(guó)小成本喜劇電影的影響。 第二章，主要探究中國(guó)小成本喜劇電影呈現(xiàn)出怎樣的主題意蘊(yùn)和美學(xué)特征。首先探析其現(xiàn)實(shí)批判和人文關(guān)懷的主題意蘊(yùn)；其次分析其三個(gè)方面的美學(xué)特征：人物塑造上的草根化、丑角化和幽默化特色，注重戲仿、拼貼、誤會(huì)與巧合的敘事技巧，泛娛樂(lè)化的影像風(fēng)格。 第三章，主要探究中國(guó)小成本喜劇電影在新世紀(jì)繁榮的原因。首先，在大眾消費(fèi)文化興起的時(shí)代語(yǔ)境中，草根話語(yǔ)的崛起和狂歡文化的盛行為小成本喜劇電影的繁榮提供了土壤；其次，小成本喜劇電影游戲化、本土化的創(chuàng)作特色更多地融入了大眾平民的生活和感受，為其繁榮發(fā)展創(chuàng)造了良好的內(nèi)部條件；再次，從觀眾的接受角度來(lái)看，小成本喜劇電影符合國(guó)人的審美情趣和觀影期待、迎合了年輕受眾的觀影心理、賦予觀眾一定的心理慰藉和情感認(rèn)同等；最后，從產(chǎn)業(yè)環(huán)境和創(chuàng)作環(huán)境來(lái)看，低投入高回報(bào)的資本誘惑以及小成本商業(yè)電影創(chuàng)作上的制約性也在一定程度上促使了小成本喜劇電影的繁榮。 第四章，主要論述中國(guó)小成本喜劇電影在繁榮的背后存在的不足與問(wèn)題，并對(duì)此提出對(duì)策與建議。當(dāng)下中國(guó)小成本喜劇電影存在的問(wèn)題主要是創(chuàng)作上后現(xiàn)代游戲精神下主體性的失落、娛樂(lè)碎片下敘事邏輯的喪失、市場(chǎng)運(yùn)作上宣傳匱乏和院線發(fā)行不力等問(wèn)題。要解決這些問(wèn)題，，不僅要在創(chuàng)作上真正從觀眾角度出發(fā)，從單純的感官刺激回歸到以人為本，同時(shí)還要積極開(kāi)拓市場(chǎng)，豐富宣傳模式，更好的實(shí)現(xiàn)小成本喜劇在中國(guó)商業(yè)電影市場(chǎng)中的價(jià)值。
[Abstract]:Comedy film is one of the film types which can best reflect the cultural personality, national customs and aesthetic taste. However, the Chinese comedy film failed to form its own unique cultural personality and never found a way to flourish. For decades, Chinese comedy films swung between different types of films, struggling with a lack of cultural identity. In 2006, however, a crazy stone emerged, winning both box office and word of mouth. Its success allowed Chinese audiences and filmmakers to see another possibility for the development of domestic comedies and began to rethink the production model of Chinese comedies. Since then, many small-cost comedy films came into being and formed a wave of rapid prosperity in the new century. This paper aims at combing and analyzing the prosperity of Chinese small cost comedy film in the new century, exploring the aesthetic characteristics of the small cost comedy film, seeking the reasons for its prosperity, pointing out its shortcomings and problems. Thus provides the theory mirror for the present Chinese small-cost comedy movie development. This paper is divided into four chapters. The first chapter mainly discusses the concept of the small cost comedy film, combs the development situation of the Chinese small cost comedy film since the new century, and explains the cultural transformation and transformation in the development of the Chinese comedy film. This paper points out the influence of Chinese comedy film tradition on the current Chinese small-cost comedy film. The second chapter mainly explores the theme implication and aesthetic features of Chinese small-cost comedy films. First of all, it analyzes the theme meaning of its realistic criticism and humanistic concern, and then analyzes its aesthetic characteristics in three aspects: the grass-roots character shaping, the ugly and humorous features, the narrative skills of paying attention to parody, collage, misunderstanding and coincidence. A pan-entertainment image style. The third chapter mainly explores the reasons for the prosperity of Chinese small-cost comedy films in the new century. First of all, in the context of the rise of mass consumer culture, the rise of grassroots discourse and the prevalence of carnival culture provide the soil for the prosperity of small cost comedy films. The localization of the creative features has more integrated into the life and feelings of the masses, creating good internal conditions for its prosperity and development. Thirdly, from the perspective of audience acceptance, Small-cost comedy films conform to the aesthetic tastes and movie expectations of Chinese people, cater to the young audience's psychology of watching films, and endow the audience with certain psychological comfort and emotional identity. Finally, from the perspective of the industrial and creative environment, The capital temptation of low investment and high return and the restrictions on the creation of small-cost commercial films also contributed to the prosperity of small-cost comedy films to some extent. The fourth chapter mainly discusses the shortcomings and problems behind the prosperity of Chinese small-cost comedy films, and puts forward some countermeasures and suggestions. At present, the main problems of Chinese small cost comedy films are the loss of subjectivity under the spirit of post-modern game, the loss of narrative logic under entertainment fragments, the lack of publicity in market operation and the weak distribution of the cinema. To solve these problems, we should not only create from the perspective of the audience, from pure sensory stimulation to people-oriented, but also actively open up the market and enrich the publicity model. Better realize the value of small-cost comedy in the Chinese commercial film market.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J909.2

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