本文選題：王家衛(wèi)電影 + 后現(xiàn)代性�。� 參考：《遼寧大學(xué)》2013年碩士論文

【摘要】：本文以王家衛(wèi)迄今為止創(chuàng)作的十又三分之一部電影為主要對象，試圖對王家衛(wèi)的電影作品作一次整體性梳理和研究。本文首先考察王家衛(wèi)電影的創(chuàng)作背景，其次在后現(xiàn)代主義理論框架下分析王家衛(wèi)電影的后現(xiàn)代主題、后現(xiàn)代敘事、技法應(yīng)用及其商業(yè)性，力求把電影本體研究和文化研究結(jié)合起來。 由于香港特殊的身份地位，香港的文化多元共存兼容并蓄。90年代的香港電影雖由于多種原因較為低迷，香港電影人依舊在各種挑戰(zhàn)中創(chuàng)作出了一批較高質(zhì)量的作品。隨著現(xiàn)代西方社會的科技和經(jīng)濟在20世紀(jì)下半葉的迅猛發(fā)展，，后現(xiàn)代主義逐步演變成為一種世界性的文化思潮并滲透到大眾的日常生活、價值觀念和思維模式之中。雖然這些作品大多不是完整意義上的后現(xiàn)代主義電影，但部分電影已經(jīng)具有后現(xiàn)代的諸多特征和因素，王家衛(wèi)的電影作品就是其中的典范。50年代末至60年代初的法國電影新浪潮運動也對香港電影及王家衛(wèi)產(chǎn)生了深刻的影響，王家衛(wèi)繼承并發(fā)展了法國新浪潮電影中的某些思想、手法和特色。 王家衛(wèi)的電影充分表現(xiàn)了后現(xiàn)代人主體的消失及其生存、情感狀態(tài)。“在后現(xiàn)代主義里的‘耗盡’里，”①主體“充分地零散化，解體了”②，“已經(jīng)沒有一個自我的存在了�！雹弁跫倚l(wèi)電影中的人物刻意忽略姓名和家庭社會關(guān)系，共有著邊緣性、流動性、不安定的特點以及孤獨、焦慮、偏執(zhí)等心靈特質(zhì)，王家衛(wèi)以可以任意替換、極具象征意味的符號式人物將現(xiàn)代人的生存狀態(tài)與心理特征放大，讓我們看到了后現(xiàn)代人在失去自我后的荒謬和偏執(zhí)自閉。他們因“理解的不可能性，真理的不可能性，溝通的不可能性”④而相互疏離、隔絕，變得擅長拒絕，只能在孤獨里游蕩，在“后現(xiàn)代游戲式的生活”⑤中“尋求非具體的目標(biāo)”⑥，等待命運的審判。后現(xiàn)代人將情感冰封于自己堅硬的外殼之下，表露在外的只是隨意漂浮、非個人化的情感。雖然王家衛(wèi)利用特別的情節(jié)和細(xì)節(jié)挖掘出后現(xiàn)代人隱藏在平靜之下真實、細(xì)膩的感情。影片展現(xiàn)的依舊是人與人之間的孤獨和難以接近，后現(xiàn)代人只能在無常人生中抒寫自己的落寞情懷。 王家衛(wèi)在其電影中以凝固的時間符號和零散化了的空間碎片的拼貼和結(jié)構(gòu)的分裂展現(xiàn)了其獨具魅力的后現(xiàn)代敘事風(fēng)格。王家衛(wèi)的電影打破了以往的時空結(jié)構(gòu)模式，將時間的碎片按照影片表現(xiàn)的需要隨意拼貼，以個人當(dāng)下非歷史的時間來代替現(xiàn)實的、社會的時間，書寫了后現(xiàn)代人日常生活中所感受的體驗時間。王家衛(wèi)在影片中使用經(jīng)過切割重組的毫無整體感與安定感的空間構(gòu)造了寓言式的后現(xiàn)代空間，隱喻了當(dāng)代都市人那令人窒息和絕望的隔膜。 王家衛(wèi)電影中的人物語言和畫外音獨白契合后現(xiàn)代語言隱喻、不確定、游戲的特征，展現(xiàn)了后現(xiàn)代人的生活方式和封閉的、不能交流的孤獨個體狀態(tài)，同時運用敘述人的反復(fù)變換呈現(xiàn)出零散化和碎片化的狀態(tài)。 在“商品化的邏輯已經(jīng)影響到人們的思維”①的后現(xiàn)代，王家衛(wèi)以其富于探索精神的技法運用將影片制作得適合大眾的口味。王家衛(wèi)以獨特的鏡頭運用傳達(dá)出后現(xiàn)代人物的生存和情感狀態(tài)，提示情節(jié)、營造氣氛的同時也給觀眾帶來了美的享受。王家衛(wèi)的電影還重視色彩的造型和表意功能，用色彩表現(xiàn)人物的情感命運和心理情緒。王家衛(wèi)利用強烈陳述意義的音樂填補影片的敘事空白，同時利用音樂牽動觀眾的情感思緒。 商品是王家衛(wèi)電影作品的本質(zhì)。王家衛(wèi)對于藝術(shù)品與商品二重性在電影作品中的統(tǒng)一有著清醒的認(rèn)識，他深諳熱銷商品的特征，每部影片都使用了強大的明星陣容和對類型片模式的戲仿，并熟練地使用了許多大眾喜愛的元素，以使自己的影片賣座。
[Abstract]:This article, taking the ten and one third films created by Wong Kar Wai so far as the main object, tries to make a holistic study of Wong Kar Wai's films. This article first examines the creation background of Wong Kar Wai's films, and then analyzes the postmodern themes of Wong Kar Wai films, post-modern narration and techniques under the framework of postmodernism. Application and commercially, strive to combine film ontology research with cultural research.
Because of the special status of Hongkong, Hongkong's cultural diversity and coexistence of.90 years, Hongkong films are still in a variety of low reasons, Hongkong film people still create a lot of high quality works in various challenges. With the rapid development of the modern western society in the second half of the twentieth Century, the Post-modernism of the modern western society. It has gradually evolved into a world cultural trend of thought and penetrated into the daily life of the masses, values and modes of thinking. Although most of these works are not the complete postmodernism films, some of the films have many characteristics and factors of postmodernism, and Wong Kar Wai's film works are the models. The new wave movement of French film from the end of 50s to the early 60s also had a profound influence on the Hongkong film and Wong Kar Wai. Wong Kar Wai inherited and developed some ideas, techniques and features in the new French wave film.
Wong Kar Wai's film fully shows the disappearance of the main body of the postmodern people and their existence and emotional state. "In the" Exhaustion "in the post modernism," the subject "is fully scattered and disintegrated." there is no one self existence. "(3) the characters in the Wong Kar Wai film deliberately ignore the name and family social relations, altogether there are With the characteristics of borderness, fluidity, instability, loneliness, anxiety, and paranoia, Wong Kar Wai can be replaced by arbitrary, symbolic characters that magnify the existence and psychological characteristics of modern people, and let us see the absurdity and bigotry of the postmodern people who have lost themselves. They are "incapable of understanding". The ability, the impossibility of truth, the impossibility of communication, estranged from each other, separated from each other, being cut off, becoming good at refusing, wandering only in loneliness, "seeking non specific goals" in the "life of postmodern Games", waiting for the trial of fate. It is a free floating, unpersonalized emotion. Although Wong Kar Wai uses special plots and details to dig out the true and delicate feelings hidden behind the calm of the postmodern people, the film is still lonely and unapproachable between people and people, and the post modern people can only express their lonely feelings in the impermanence of life.
Wong Kar Wai shows his unique style of postmodern narrative in his films, with the solidified time symbols, the piecemeal collage of fragmented space debris and the fragmentation of the structure. Wong Kar Wai's films break the pattern of the previous space-time structure, put the fragments of time in accordance with the needs of the performance of the film, and take the individual at the moment of non history. In place of reality, the social time has written the experience time of the daily life of the postmodern people. Wong Kar Wai used the cut and reorganized space of unintegrity and stability to construct an allegorical postmodern space, which metaphores the suffocation and despair of contemporary urbanites.
The characters of the characters in Wong Kar Wai's films and the monologue of the outside of the picture are compatible with the modern language metaphor, uncertainty, and the characteristics of the game. It shows the life style of the postmodern people and the closed, incapable individual state of the individual, and presents the fragmentary and fragmentary state by the repeated transformation of the narrator.
In the post modernism of "the logic of commercialization that has influenced people's thinking", Wong Kar Wai made the film suitable for the taste of the masses with its exploration of the technique of exploration. Wong Kar Wai conveys the existence and emotional state of the postmodern characters with a unique lens, which brings to the audience the plot and the atmosphere. Wong Kar Wai's movie also pays attention to the shape and expressive function of color, displays the emotional fate and psychological emotion of the characters with color. Wong Kar Wai fills the blanks of the film by using the music that is strongly stated, while making use of music to affect the emotional thoughts of the audience.
The commodity is the essence of Wong Kar Wai's film. Wong Kar Wai has a clear understanding of the unity of the duality of art and goods in the film works. He is well versed in the characteristics of the hot selling goods. Each film uses a powerful star lineup and a parody of the type pattern, and has used many popular elements in order to make himself. The film is sold.

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

【參考文獻】

相關(guān)期刊論文 前1條

1 趙洪濤;;試論香港電影后現(xiàn)代性的本土生成[J];湖南科技學(xué)院學(xué)報;2009年06期

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