本文選題：李小龍 + 桑托��； 參考：《復(fù)旦大學(xué)》2013年博士論文

【摘要】：功夫片是武打片的一種類型,電影類型隨著時(shí)代的變遷和觀眾的需求變化而不斷更新。桑托格斗電影是1952年開始一直到1983年在墨西哥盛行的一種電影類型,1983年以后再也沒有這樣的電影出現(xiàn)。本文通過對(duì)墨西哥桑托(又名“銀蒙面人”("Santo, E1Enmascarado de Plata"))格斗電影和中國李小龍(Bruce Lee)功夫電影的比較研究,探討一種能夠融合二者特色的新風(fēng)格電影類型,使中國的功夫電影得到新發(fā)展,也使墨西哥的格斗片重新進(jìn)入人們的視角,并幫助可能類似這種類型的新電影的拍攝。功夫和格斗是兩種不同風(fēng)格的打斗,它們有一個(gè)共同目的是防身。后來格斗逐漸發(fā)展成一項(xiàng)比賽項(xiàng)目。格斗與功夫有相似之處,但也有區(qū)別,比如在動(dòng)作方面,格斗不能用拳頭、手肘和膝蓋攻擊對(duì)方,需要牙套、拳擊套、繃帶等防護(hù)裝備來保護(hù)身體,并有成形的格斗規(guī)則。相比之下,功夫從一開始就沒有往這個(gè)方向發(fā)展,它更為簡單和干脆利落。 墨西哥是一個(gè)多民族的國家,這包括多膚色、多長相和多民族文化傳統(tǒng)。桑托電影中融入這些多元化的元素,不僅深受不同民族的喜歡,也贏得了整個(gè)南美洲觀眾的歡心。這也是桑托電影的成功之處——讓不同國度的觀眾都產(chǎn)生認(rèn)同感。在電影中,桑托以面具英雄的形象出現(xiàn),其不是要宣揚(yáng)民族性,而是要塑造一個(gè)國際化的英雄形象。墨西哥桑托格斗電影和中國李小龍的功夫電影分別成了兩個(gè)國家那一時(shí)期電影的代表。桑托電影使得格斗發(fā)展成一項(xiàng)人們熱愛的體育項(xiàng)目,而李小龍電影則把中國功夫傳播到西方世界。 墨西哥的打斗動(dòng)作片不是為了宣傳格斗,它并沒有激起觀眾要去學(xué)習(xí)格斗的欲望,而是為了融合整個(gè)劇情的需要,并且通過這一平臺(tái)來演繹英雄形象。而李小龍不僅只是對(duì)拍電影感興趣,通過電影來展示無與倫比的中國功夫,而且很重視在全世界范圍內(nèi)宣傳和發(fā)展中國功夫。所以,在桑托的格斗電影中沒有李小龍電影中的那種對(duì)精良構(gòu)思的打斗方式的研究。桑托的格斗電影中很明顯地區(qū)分兩種類型的格斗。一類是擂臺(tái)上的格斗,桑托在他每一部電影里都飾演一位格斗員的角色,這也是他的一份工作,在擂臺(tái)上和對(duì)手較量通常是以比賽的形式,既有裁判又有觀眾。另一種是擂臺(tái)外的格斗,即桑托回到生活中與各種歹徒、吸血鬼等的打斗,當(dāng)然其打斗動(dòng)作還是延續(xù)擂臺(tái)上用的那套招式但更具殺傷力,演員們沿用擂臺(tái)模式,在打斗時(shí)總是以周圍的窗戶、桌子、柵欄等(它們類似擂臺(tái)四周的圍繩),攀在上面然后再猛撲向?qū)κ帧８穸冯娪霸谀鞲顼L(fēng)靡一時(shí),而如今隨著桑托的離世,格斗風(fēng)格也淡出了觀眾的視線,取而代之的是足球運(yùn)動(dòng)題材的影片。 墨西哥桑托的格斗電影之所以能成為一種獨(dú)立的電影類型,筆者認(rèn)為其格斗方式并不是最起決定作用的因素。因?yàn)樯Ｍ械母穸穭?dòng)作并沒有像中國功夫那樣,包含其哲學(xué)性和一招一式的觀賞性。格斗動(dòng)作相對(duì)更加粗糙,動(dòng)作更為單一而不具觀賞性。它的成功在于塑造了一位淡泊名利、舍己救人、戰(zhàn)無不勝的銀幕英雄形象,而非打斗風(fēng)格上的研究。 如今,能夠進(jìn)入中國電影的外國風(fēng)格的打斗較少。導(dǎo)演在劇情上大多通過對(duì)中國功夫與外國拳擊、格斗等對(duì)立的角色來引發(fā)搏斗的沖擊,這也是影片最具觀賞性的一部分。到目前為止,研究李小龍電影的資料也有不少,但觀眾對(duì)李小龍功夫本身的關(guān)注遠(yuǎn)遠(yuǎn)超越了對(duì)其電影的關(guān)注。此外,從來沒有學(xué)者將李小龍電影跟墨西哥格斗電影進(jìn)行過比較研究。本論文從這個(gè)獨(dú)特的視角出發(fā),探索兩種電影結(jié)合的發(fā)展前景。通過對(duì)墨西哥格斗片的研究,為中國功夫片的創(chuàng)新和提高提供資料,使中國電影創(chuàng)作者對(duì)國外打斗片的特點(diǎn)和風(fēng)格有更深的了解,以彌補(bǔ)自身的不足之處,創(chuàng)作更多優(yōu)秀的功夫類作品,促進(jìn)中國電影產(chǎn)業(yè)的發(fā)展。同時(shí),為墨西哥格斗片重整旗鼓提供一種可借鑒的資源。
[Abstract]:Kung Fu film is a type of martial arts, and the type of film is constantly updated with the changes of the times and changes in the demand of the audience. The Santo fight film is a kind of movie type that has been popular in Mexico from 1952 to 1983, and no such films appear since 1983. This article has passed to Mexico Santo (also known as "silver Mongolia face". "(" Santo, E1Enmascarado de Plata ")) a comparative study of the fighting film and the Chinese Bruce Lee (Bruce Lee) Kungfu film, exploring a new style of film that combines the two features, making Chinese Kungfu films developing new, and making Mexico's wrestling films reentering their perspective and helping to be similar to this type. New movie shooting. Kung Fu and fighting are two different styles of fighting. They have a common purpose to defend themselves. Later, fighting gradually develops into a game. Fighting is similar to kungfu. But there are also differences. For example, in action, combat can't attack each other with fist, elbow and knee, and it needs braces, boxers, bandages, and so on. Protective equipment protects the body and has formed the rules of fighting. Compared with that, Kung Fu has not been developing in this direction from the beginning. It is simpler and crisp.
Mexico is a multi-ethnic country, which includes multi color, long and multi-ethnic cultural traditions. The integration of these pluralistic elements in the Santo film is not only popular among different ethnic groups, but also the joy of the entire South American audience. This is the success of Santo film - making the audience of different countries identity. In the film, Santo appeared in the image of a mask hero, not to propagate ethnicity, but to create an international heroic image. The Mexico Santo fight film and Chinese Bruce Lee's Kungfu films were the representatives of the films of the two countries. Bruce Lee's films spread Chinese Kungfu to the western world.
The fight action film in Mexico is not to propagate the fight, it does not arouse the audience's desire to learn to fight, but to fuse the needs of the whole plot, and to interpret the hero's image through this platform. And Bruce Lee is not only interested in making movies, and shows unparalleled Chinese Kung Fu by electric shadow, and it is very heavy. There are two types of fighting in Santo's combat film. There are two types of combat in San's combat film. The role of a fighter, which is also his job, is usually in the form of a match on the arena and in the form of a match. The other is the fight outside the arena, that is, Sant returns to life with all kinds of gangsters, vampire, and so on, of course, the fight is also a continuation of the style used in the ring but more lethal. Along with the surrounding windows, the tables, the fence, and so on (they are similar to the ring of the ring), they climb over and then rush to their opponents. The fight movies have been all the rage in Mexico, and with the passing of Santo, the style of fighting is out of the audience's sight, instead of the football subject matter. Film.
The reason why the fighting film in Mexico Santo can become an independent type of film is not the most decisive factor, because the fighting action of Santo is not like the Chinese Kungfu, which contains its philosophical and one style ornamentals. The action is relatively rough, and the action is more single. Its success lies in the creation of a heroic image rather than fame and fortune, of self sacrifice and invincibility, rather than the study of fighting style.
Today, there are less fights in the foreign style that can enter Chinese movies. Most of the directors make the fight against the opposition of Chinese Kung Fu and foreign boxing and fighting, which is the most ornamental part of the film. So far, there are a lot of information on Bruce Lee's films, but the audience has done a lot of work on Bruce Lee. In addition, there has never been a comparative study of the Bruce Lee film and the Mexico combat film. This paper explores the development prospects of the combination of the two films from this unique perspective. Through the study of the Mexico combat film, the innovation and improvement of the Chinese Kungfu films are made. Provide information to make Chinese film creators have a deeper understanding of the characteristics and styles of foreign fighting films, to make up for their own shortcomings, to create more excellent kung fu works and to promote the development of the Chinese film industry. At the same time, it provides a useful resource for the reintegration of the Mexico combat film.

【學(xué)位授予單位】：復(fù)旦大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2013
【分類號(hào)】：J905

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