本文選題：電影詩學(xué) + 李滄東��； 參考：《西南大學(xué)》2013年碩士論文

【摘要】：電影作為文化產(chǎn)業(yè)的重要一支,是文化傳播效應(yīng)最具全球性的一個文化產(chǎn)品。在各國政府日益強(qiáng)調(diào)文化產(chǎn)業(yè)發(fā)展重要性的當(dāng)下,電影的產(chǎn)業(yè)屬性已經(jīng)獲得了全球電影界廣泛而深入的關(guān)注。然而注重電影產(chǎn)業(yè)化發(fā)展的背后,卻是電影界對電影本體藝術(shù)性征研究的式微以及實(shí)踐探索的減少。誠如羅伯特·C·艾倫和道格拉斯·戈梅里兩位學(xué)者在《電影史：理論與實(shí)踐》一書中所強(qiáng)調(diào)的那樣,對電影的認(rèn)識必需建立在一個開放的認(rèn)知視角上進(jìn)行觀照和研究,對電影的系統(tǒng)性認(rèn)識對電影研究和創(chuàng)作實(shí)踐都具有十分重要的意義。詩性,作為電影藝術(shù)創(chuàng)作的重要原則和有效方法,以其獨(dú)特的內(nèi)在涵養(yǎng)以及視覺奇觀一度成為電影界關(guān)注的重要方面,對電影詩性性征的挖掘和探索成為電影理論界和實(shí)踐活動的重點(diǎn)。然而,在日漸強(qiáng)調(diào)電影產(chǎn)業(yè)效應(yīng)的今天,對電影詩性性征的研究已經(jīng)逐漸受到電影創(chuàng)作者們的忽視。 作為韓國新電影的中堅(jiān)力量之一,享有“叩問生命的詩人”之美譽(yù)的李滄東導(dǎo)演,以不同于他者的膽識和氣魄,對電影詩性性征進(jìn)行深入研究和探索,創(chuàng)造性地將電影類型化理論、經(jīng)典好萊塢敘事結(jié)構(gòu)等商業(yè)元素融入于詩性性征的表達(dá)中,以期獲得電影藝術(shù)性征與商業(yè)性征的平衡。縱觀其五部電影作品,濃郁的詩性氣質(zhì)不僅表現(xiàn)在對電影詩性語言的適度把握以及影像表達(dá)的現(xiàn)實(shí)主義風(fēng)格,更在于其對詩性內(nèi)涵的深刻理解,即在深切的人文關(guān)懷基礎(chǔ)上的人性拷問。他的作品有著殘酷的現(xiàn)實(shí)主義風(fēng)格,然而與同時代的金基德、洪尚秀等所不同的是,他的電影作品內(nèi)核在于注入對社會發(fā)展進(jìn)程中不同社會問題與矛盾的深入思考,力圖在客觀呈現(xiàn)絕望現(xiàn)實(shí)之中展現(xiàn)人性的真善美：他的作品飽含深邃的東方哲思,然而與其他強(qiáng)調(diào)詩性性征表現(xiàn)手法的導(dǎo)演所不同的是,他的影像鏡語體系有著鮮明的時代性和多類型元素的雜糅性征。李滄東導(dǎo)演對詩性性征的研究和實(shí)踐乃是基于對電影本體藝術(shù)性征思考的基礎(chǔ)上,強(qiáng)調(diào)將東方詩性哲思和西方詩性表現(xiàn)手法進(jìn)行有效結(jié)合,以此獲得對現(xiàn)代社會普遍存在的問題的客觀思考以及對身處這一時代中的人與人性的精神拷問。 本文將從李滄東導(dǎo)演電影創(chuàng)作的產(chǎn)業(yè)語境與文化環(huán)境入手,通過對其身處的社會文化環(huán)境的探究和韓國文化產(chǎn)業(yè)發(fā)展的軌跡的梳理,在結(jié)合對李滄東導(dǎo)演的創(chuàng)作歷程的歸納基礎(chǔ)上獲得李滄東導(dǎo)演注重電影詩性性征探索的主要因素。接下來,在追溯詩性性征的基礎(chǔ)上,獲得電影詩性性征的理解,并對本論文的論點(diǎn)進(jìn)行明確的論證。進(jìn)而在對李滄東導(dǎo)演五部作品深入分析的基礎(chǔ)上,總結(jié)其電影作品詩性的表達(dá)形態(tài),并在進(jìn)一步的對比研究中獲得李滄東導(dǎo)演詩性表現(xiàn)策略機(jī)制的傳統(tǒng)性與獨(dú)特性。在總結(jié)歸納其詩性表現(xiàn)手法的基礎(chǔ)上,筆者試圖對李滄東導(dǎo)演的詩性思維進(jìn)行探索,獲得其東方哲思和西方現(xiàn)代思維雙重影響下的詩性思維,并以電影作品《詩》為例,進(jìn)一步論證其詩性思維的獨(dú)特性,強(qiáng)調(diào)說明其詩性思維影響下的電影作品在韓國新電影版圖中的重要作用。 電影詩性作為電影藝術(shù)本體性征的重要方面,在電影創(chuàng)作和理論研究中均具有舉足輕重的地位。而韓國的李滄東導(dǎo)演以詩性性征顯著的電影作品獲得國際影壇的廣泛關(guān)注,僅以五部作品便在韓國新電影版圖中占據(jù)重要地位,可見詩性性征對于當(dāng)前電影創(chuàng)作仍具有重要意義。本研究試圖考察李滄東導(dǎo)演在詩性思維的影響下所創(chuàng)作的電影作品的詩性性征的具體表現(xiàn)形態(tài)及其策略機(jī)制,以探究電影詩性在平衡電影產(chǎn)業(yè)屬性和藝術(shù)屬性的重要作用。 整篇論文的總體架構(gòu)如下： 第一章：李滄東電影概述 第二章：李滄東電影的詩性表達(dá)形態(tài)及其策略機(jī)制 第三章：李滄東電影的詩性思維及其貢獻(xiàn)
[Abstract]:As an important branch of cultural industry, film is a cultural product with the most global effect on cultural communication. At the moment when governments increasingly emphasize the importance of the development of cultural industry, the industrial property of the film has gained wide and deep attention from the global film industry. However, it is the film industry that pays attention to the development of the film industry. As the two scholars of Robert C Alan and Douglas Gomery emphasized in the book of film history: Theory and practice, the understanding of film must be built on an open cognitive perspective to observe and study the systematic nature of the film. Understanding is of great significance to film research and creative practice. Poetical, as an important principle and effective method of film art creation, has become an important aspect of film circles with its unique inner self conservation and visual spectacle. The excavation and exploration of the film poetic character have become the most important part of film theory and Practice. However, with the increasing emphasis on the effect of film industry, the study of poetic sexuality has gradually been neglected by film creators.
As one of the backbone forces of the new Korean film, the director of Li Cangdong, who enjoys the reputation of "the poet of life", makes a deep study and exploration of the poetic character of the film, and creatively integrates the film typization theory, the classic Hollywood narrative structure and other commercial elements into the expression of the poetic character by different from the other's courage and courage. In order to obtain the balance between the film art and the commercial nature of the film, a strong poetic temperament is not only reflected in the moderate grasp of the poetic language and the realistic style of the image expression, but also in his profound understanding of the poetic connotation, that is, the human torture on the basis of the deep humanistic care. The works have a cruel realism style, but unlike the same time Kim Ki-duk, Hong Shang show, his film works in the core of the injection of different social problems and contradictions in the process of social development, trying to show the truth, goodness and beauty of human nature in the objective reality of despair: his works are deep and profound. The Oriental philosophic thought, however, is different from the other directors emphasizing the poetic character of the sexuality. His image mirror system has a distinct character of the times and the hybridity of many types of elements. The research and practice of Li Cangdong's poetic sex is based on the reflection on the artistic character of the film, emphasizing the Oriental poetic philosophy. With the effective combination of western poetic expression techniques, the objective thinking of the universal problems in modern society and the spiritual torture of people and human nature in this era are obtained.
This article will start with the industrial context and cultural environment of director Li Cangdong's film creation, through the exploration of its social and cultural environment and the track of the development of Korean cultural industry, and on the basis of the induction of the course of Li Cangdong's creation, the main factors that Li Cangdong focus on the exploration of the movie poetic sex are obtained. Then, on the basis of tracing the poetic sex character, we can get the understanding of the poetic character of the film and make a clear demonstration of the argument of this thesis. Then, on the basis of the in-depth analysis of the five works of director Li Cangdong, it summarizes the poetic expression form of the film works, and obtains the poetic performance of Li Cangdong's director in the further comparative study. On the basis of summing up its poetic expression, the author tries to explore the poetic thinking directed by Li Cangdong, and obtains his poetic thinking under the dual influence of Eastern philosophy and western modern thinking, and takes the film works as an example to further demonstrate the uniqueness of his poetic thinking. The important role of film works under the influence of Ming's poetic thinking in the new Korean film layout.
As an important aspect of the noumenon of film art, film poetry plays an important role in both film creation and theoretical research, and the Korean director Li Cangdong has received extensive attention from the international film circles with remarkable poetic features. Only five works occupy an important position in the new film layout of South Korea, and the poetry is visible. Sex is still of great significance to the current film creation. This study tries to investigate the specific manifestation and strategy mechanism of the poetic character of film works produced by director Li Cangdong under the influence of poetic thinking, so as to explore the important role of film poetry in balancing the property and artistic attributes of the film industry.
The overall architecture of the whole paper is as follows:
Chapter one: an overview of Li Cangdong's films
The second chapter: Li Cangdong's poetic expression and its strategic mechanism.
The third chapter: Li Cangdong's poetic thinking and its contribution.

【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J905

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