本文選題：20世紀(jì) + 新世紀(jì)　； 參考：《河北大學(xué)》2014年碩士論文

【摘要】：世界各地生產(chǎn)電影的工廠林林總總，不可否認(rèn)，美國(guó)好萊塢一直占據(jù)著頂尖的位置，而在眾多的好萊塢類型片中，歌舞片無(wú)疑是最夢(mèng)幻的。21世紀(jì)之前，在特定的歷史背景下，好萊塢歌舞片經(jīng)歷了三大黃金期，出現(xiàn)了后臺(tái)歌舞片、童話歌舞片、搖滾歌舞片、古典歌舞片的不同形態(tài)，為焦慮不安的人們帶去了安撫。而任何事物的發(fā)展都具有曲折性，繁盛一時(shí)的好萊塢歌舞片在經(jīng)歷了黃金期后也趨于沒(méi)落。直到21世紀(jì)初，《黑暗中的舞者》、《紅磨坊》、《芝加哥》等連續(xù)幾部歌舞片的重磅推出讓久違的夢(mèng)幻歌舞重新出現(xiàn)在電影中，新世紀(jì)的歌舞片在商業(yè)和口碑上的強(qiáng)勁勢(shì)頭預(yù)示了好萊塢歌舞片即將再次迎來(lái)一個(gè)春天。 過(guò)去曾有的輝煌在今天還會(huì)繼續(xù)，新世紀(jì)的好萊塢歌舞片取了20世紀(jì)好萊塢歌舞片的精華，同時(shí)，又不斷注入新鮮血液，使得這一片種呈現(xiàn)出嶄新的美感，又出現(xiàn)了復(fù)古歌舞片、黑色歌舞片、青春歌舞片的不同形態(tài)。本文將立足于不同時(shí)期美國(guó)的社會(huì)文化和電影工業(yè)背景，，試圖從21世紀(jì)好萊塢歌舞片對(duì)傳統(tǒng)歌舞片的繼承與發(fā)展入手，分析新時(shí)期好萊塢歌舞片的藝術(shù)特點(diǎn)及不同類型，并探討全球化語(yǔ)境下的新世紀(jì)好萊塢歌舞片的生存狀態(tài)，最后總結(jié)好萊塢模式帶給中國(guó)歌舞片的借鑒價(jià)值。 本篇論文的主體部分分為三章。第一章，“回首20世紀(jì)好萊塢歌舞片”，是對(duì)21世紀(jì)之前的好萊塢歌舞片的回顧。筆者從歌舞片的出現(xiàn)切入，再到歌舞類型片的形成，繼而歸納了20世紀(jì)好萊塢歌舞片的不同形態(tài)，同時(shí)以迪士尼動(dòng)畫為例，探討了歌舞元素的新出路，即好萊塢動(dòng)畫片中歌舞元素的巧妙運(yùn)用。第二章，“探析新世紀(jì)好萊塢歌舞片”，是本篇論文的重點(diǎn)章節(jié)，筆者首先提出了新世紀(jì)好萊塢歌舞片不同于過(guò)去的新形態(tài)，然后在新世紀(jì)美國(guó)電影工業(yè)的背景下，論述好萊塢歌舞片的創(chuàng)作呈現(xiàn)的嶄新的藝術(shù)特點(diǎn)，包括視聽(tīng)元素的創(chuàng)新運(yùn)用，劇作結(jié)構(gòu)的豐富，綜合性時(shí)空架構(gòu)的運(yùn)用。第三章，“全球化語(yǔ)境下的新世紀(jì)好萊塢歌舞片”，筆者在此分析了好萊塢歌舞片面臨的最大挑戰(zhàn)——印度歌舞片，同時(shí)，從多元化的發(fā)展方向、新技術(shù)的廣泛應(yīng)用、新鮮活力的注入、海外市場(chǎng)的開(kāi)拓四個(gè)方面入手，展望美國(guó)好萊塢歌舞片在新世紀(jì)的發(fā)展前景。最后提到我國(guó)歌舞片的發(fā)展情況，從歌舞片的雛形——歌唱片，到新世紀(jì)的《紅磨坊》等新作品的不斷涌現(xiàn)，筆者總結(jié)了新世紀(jì)好萊塢歌舞片帶給中國(guó)歌舞片的借鑒意義，包括提高劇作水平、增強(qiáng)敘事與歌舞的融合、充分利用民族文化資源、拓展對(duì)新技術(shù)的運(yùn)用、培育穩(wěn)定的觀眾群五個(gè)方面。
[Abstract]:There are all kinds of factories around the world that produce films. It is undeniable that Hollywood in the United States has always occupied the top position, and among the numerous Hollywood films, music and dance films are undoubtedly the most dreamy before the 21st century, in a specific historical context. Hollywood song-and-dance films have experienced three prime periods, with backstage songs, fairy tales, rock songs and classical songs in different forms, bringing comfort to anxious people. The development of anything has a zigzag, flourishing Hollywood song and dance film after the golden period also tends to decline. Until the beginning of the 21st century, the blockbuster of a series of songs and dance films, such as Dancer in the Dark, Moulin Rouge and Chicago, made the long-lost dream song and dance appear again in the movies. The commercial and word-of-mouth strength of the new century's song-and-dance films heralds another spring for Hollywood song-and-dance films. The glory of the past will continue today. The Hollywood song and dance films of the new century have taken the essence of the 20th century Hollywood song and dance films. At the same time, they are constantly infusing fresh blood, so that this kind of film presents a brand new sense of beauty. Also appeared the retro song and dance film, the black song and dance film, the youth song and dance film different form. Based on the background of American social culture and film industry in different periods, this paper attempts to analyze the artistic characteristics and different types of Hollywood song and dance films in the new era, starting with the inheritance and development of traditional songs and dance films in Hollywood in the 21st century. It also discusses the living conditions of Hollywood song and dance films in the new century in the context of globalization, and finally summarizes the reference value of Hollywood models to Chinese song and dance films. The main part of this paper is divided into three chapters. The first chapter, "looking back to the 20 th century Hollywood song and dance film," is a review of Hollywood song and dance films before the 21 st century. From the appearance of song and dance films to the formation of song and dance films, the author sums up the different forms of Hollywood song and dance films in the 20th century. At the same time, taking Disney animation as an example, the author discusses the new outlet of song and dance elements. That is, Hollywood animation in the elements of song and dance clever use. The second chapter, "Analysis of Hollywood Song and Dance Film in the New Century", is the key chapter of this paper. The author first puts forward the new form of Hollywood song and dance film in the new century, and then under the background of the American film industry in the new century. This paper discusses the new artistic features of the creation of Hollywood song and dance films, including the innovative use of audio-visual elements, the rich structure of the plays, and the application of the comprehensive space-time structure. Chapter three, "Hollywood Song and Dance Film in the New Century in the context of Globalization", the author analyzes the biggest challenge that Hollywood song and dance film faces-Indian song and dance film, at the same time, from the diversified development direction, the extensive application of new technology. With the injection of fresh vitality and the development of overseas market, the development prospect of American Hollywood song and dance films in the new century is prospected. Finally, the development of Chinese song and dance films is mentioned, from the rudimentary form of song and dance films to the continuous emergence of new works such as "Moulin Rouge" in the new century, the author sums up the reference significance of Hollywood song and dance films to Chinese song and dance films in the new century. It includes five aspects: raising the level of drama, strengthening the fusion of narration and dance, making full use of national cultural resources, expanding the application of new technology, and cultivating a stable audience.
【學(xué)位授予單位】：河北大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J905

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