本文選題：愛(ài)情電影 + 杜琪峰�。� 參考：《西北大學(xué)》2014年碩士論文

【摘要】：愛(ài)情是電影重要的類(lèi)型之一,杜琪峰作為一名類(lèi)型意識(shí)鮮明的商業(yè)片導(dǎo)演,他的電影涉及多個(gè)題材：黑幫、警匪、愛(ài)情、文藝、武俠、喜劇等。這些題材元素或者單獨(dú)出現(xiàn)支撐一部電影作品；或者是以其中某個(gè)題材作為主體,其他元素加以輔佐,共同構(gòu)建出一個(gè)類(lèi)型雜糅的完整作品風(fēng)貌。作為電影人,杜琪峰自覺(jué)反省現(xiàn)代社會(huì)意識(shí)流中的理性話語(yǔ),努力追尋普世情懷,劍走偏鋒堅(jiān)守著個(gè)性化風(fēng)格路線；作為導(dǎo)演,杜琪峰注重場(chǎng)面調(diào)度和節(jié)奏的把握,擅長(zhǎng)利用多樣化的電影制作手法,形成獨(dú)具超凡脫俗且凌厲的影像風(fēng)格,在香港影壇乃至整個(gè)華語(yǔ)電影世界格局中都堪稱(chēng)旗幟。 在杜琪峰的電影中,影片的敘事線索通常在死亡/絕望的二元對(duì)立中持續(xù)著非此即彼的徘徊。主體意旨則表現(xiàn)為深沉的宿命論、無(wú)路的悲愴以及嗜血的復(fù)仇,等待的結(jié)局走向自憐心理映照下的流亡情結(jié)。諸如此類(lèi)的主題表達(dá)是對(duì)香港由來(lái)已久的江湖美學(xué)作了進(jìn)一步延續(xù)和變奏,同時(shí)也深深根植于杜琪峰這位香港導(dǎo)演堅(jiān)持作者電影的創(chuàng)作道路。 眾所周知,杜琪峰的創(chuàng)作雖不是以愛(ài)情電影著稱(chēng),但以愛(ài)情為元素的愛(ài)情藝術(shù)片和愛(ài)情喜劇片卻是他多年以來(lái)堅(jiān)持創(chuàng)作的部分。無(wú)論是早期涉足宏大敘事中動(dòng)人心魄的情感之作,還是新千年以來(lái)憑借浪漫、溫情和喜劇等元素構(gòu)筑起來(lái)的愛(ài)情電影序列作品。從中,我們都可以在這個(gè)以拍攝黑幫警匪電影見(jiàn)長(zhǎng)的導(dǎo)演身上看到他情感細(xì)膩的一面以及偏愛(ài)文藝和喜劇的情感訴求。然而,迄今為止對(duì)于杜琪峰愛(ài)情電影的研究,還缺少系統(tǒng)化以及理論化的梳理和總結(jié)。 本論文旨在研究杜琪峰愛(ài)情電影的類(lèi)型模式以及作者風(fēng)格的表現(xiàn),并不像傳統(tǒng)研究者們將目光聚焦于杜琪峰警匪電影,或者偏執(zhí)于梳理香港黑幫電影題材美學(xué)類(lèi)型的嬗變。我們?cè)噲D通過(guò)電影文本,分析影片的主題意蘊(yùn)和類(lèi)型特征,揭示出導(dǎo)演／作者賦予影片的人文色彩和普世情懷,感同身受普羅大眾在愛(ài)情這場(chǎng)盛宴中的悲歡離合,總結(jié)出影片獲得藝術(shù)成功和商業(yè)票房的成功模式,揭露和批判電影中所存在的缺陷和硬傷,給予其他導(dǎo)演一定的啟示。最終為華語(yǔ)電影合拍片以及杜琪峰導(dǎo)演未來(lái)的愛(ài)情電影創(chuàng)作提供一定的前景展望和理論支持。
[Abstract]:Love is one of the most important types of movies. As a commercial film director with a clear sense of genre, his films involve many subjects: gangsters, police and bandits, love, literature and art, martial arts, martial arts, comedy and so on. These theme elements either appear alone to support a movie work, or take one theme as the main body, other elements to assist, together to construct a type of mixed complete style and features of the works. As a filmmaker, Tu Chih-feng consciously reflects on the rational discourse in the stream of consciousness in modern society, strives to pursue the universal feelings, and the sword takes the line of individualized style. As a director, he pays attention to the scheduling of scenes and the grasp of rhythm. Good at using a variety of movie-making techniques to form an extraordinary and powerful image style, in Hong Kong film and even the entire world of Chinese film can be regarded as a banner. In his films, the narrative thread of the film usually lingers between one and the other in the duality of death / despair. The subject's intention is manifested in the deep fatalism, the pathos of no way and the revenge of bloodlust, and the waiting ending leads to the exiled complex under the reflection of self-pity psychology. Such themes are a continuation and variation of Hong Kong's longstanding quack aesthetics, and are deeply rooted in the Hong Kong director's insistence on the author's creative path. As we all know, although his creation is not famous for his love movies, love art films and love comedies are part of his work for many years. Whether it is the emotional works of the grand narration in the early period, or the series works of the romantic movies constructed by the romantic, tender and comedy elements in the new millennium. From this, we can all see his emotional delicate side and the emotional appeal of his preference for literature and comedy in this director who is good at shooting gangster police and bandit films. However, so far, the study of Qifeng love film is still lack of systematization and theoretical carding and summing up. The purpose of this thesis is to study the types of love movies and the performance of the author's style, unlike the traditional researchers who focus their attention on the film of police and bandit, or are paranoid about the evolution of aesthetic types of Hong Kong gangster films. Through the film text, we try to analyze the theme meaning and the type characteristic of the film, reveal the humanism color and the universal feeling that the director / author endows the film, and feel the feelings of the general public in the love feast. This paper sums up the successful models of artistic success and commercial box office, exposes and criticizes the defects and harms existing in the film, and gives some enlightenment to other directors. Finally, it provides a certain prospect and theoretical support for co-production of Chinese film and future love film creation of director Qifeng.
【學(xué)位授予單位】：西北大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J905

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 孟浩軍;杜琪峰電影完全接觸[J];北京電影學(xué)院學(xué)報(bào);2000年04期

2 張燕;;港式愛(ài)情 內(nèi)地試水——杜琪峰愛(ài)情電影縱談[J];當(dāng)代電影;2011年07期

3 楊曉云;;1998—2011:中國(guó)電視電影愛(ài)情片類(lèi)型語(yǔ)法[J];當(dāng)代電影;2011年08期

4 張燕;杜琪峰 類(lèi)型片的“杰出作者”[J];電影評(píng)介;2000年09期

5 杜琪峰;羅卡;;不斷嘗試 積極求變 杜琪峰訪談[J];電影藝術(shù);2008年03期

6 沈嘉熠;;當(dāng)代愛(ài)情的影像書(shū)寫(xiě)——從兩岸三地愛(ài)情電影談起[J];當(dāng)代電影;2012年12期

7 代輝;;試論中國(guó)愛(ài)情電影的類(lèi)型特征[J];電影評(píng)介;2012年24期

8 李道新;第四代導(dǎo)演的歷史意識(shí)及其在中國(guó)電影史上的獨(dú)特地位(上)[J];海南師范學(xué)院學(xué)報(bào)(社會(huì)科學(xué)版);2002年06期

9 張媛;;香港電影的魅力[J];青年文學(xué)家;2012年11期

10 點(diǎn)點(diǎn);;杜琪峰從光影工匠到雅皮騎士[J];世界電影之窗;2010年04期

，

本文編號(hào)：1813688