本文選題：北野武 + 暴力美學(xué)��； 參考：《海南師范大學(xué)》2017年碩士論文

【摘要】：日本導(dǎo)演北野武是80年代后出道的導(dǎo)演中最具代表性的一位。本文試以北野武的電影為研究對(duì)象,解讀影片獨(dú)具特色的暴力美學(xué)特征,并從影片的鏡語風(fēng)格、敘事策略和死亡主題三個(gè)方面入手,進(jìn)一步考察其崇高內(nèi)涵,探究電影所造就的崇高之美。首先,北野武的電影并存著暴烈與唯美兩種極致元素,殘暴和柔美的極端影像互相交織,構(gòu)成其獨(dú)特的電影鏡語風(fēng)格。導(dǎo)演以嶄新的表法方式,表達(dá)著對(duì)暴力的極端追問。暴力影像在刺激感官外,開始負(fù)載更為厚重的作用,不再只是劇情的推手和表現(xiàn)對(duì)象,而是成為表現(xiàn)生活,表達(dá)意義或是揭示哲理甚至成為抒發(fā)感情的手段,這其中帶有著崇高的哲學(xué)意味。其次,將北野武的電影敘事風(fēng)格進(jìn)行定義,筆者認(rèn)為是重建性敘事,其特點(diǎn)在于瞬間、短暫的暴力動(dòng)作的前后,電影畫面呈現(xiàn)出安靜的狀態(tài)。觀者在這種從持續(xù)到突變的電影節(jié)奏中獲得崇高的審美體驗(yàn),持續(xù)的靜止畫面使觀者在靜默中感到強(qiáng)烈的壓抑與痛感,而突變的暴力場(chǎng)景則讓其在隱忍中得以爆發(fā),最終由恐懼轉(zhuǎn)向愉悅,由驚嘆化為振奮,并在情感的迸發(fā)中,由痛苦升華到震撼人心的崇高之美。最后,北野武的電影有其固定的死亡主題。死亡委身屈居于影片的一幕,并非只是情節(jié)設(shè)置的一部分,作為一種表達(dá)生命形態(tài)完整性的高級(jí)形式,承載著日本民族死亡崇拜的文化觀念。導(dǎo)演以獨(dú)特的視角表現(xiàn)出主人公面對(duì)死亡時(shí)表現(xiàn)出的無畏作風(fēng)和尊嚴(yán),以及傳統(tǒng)的武士道精神,顯示出超越死亡的崇高價(jià)值。通過對(duì)北野武暴力美學(xué)崇高內(nèi)涵的詳細(xì)解讀,希望本文也能對(duì)崇高美在當(dāng)代電影中的體現(xiàn)有進(jìn)一步地把握。同時(shí),筆者將進(jìn)一步反思當(dāng)今在后現(xiàn)代語境與消費(fèi)社會(huì)的影響下,崇高之美的缺失,并為當(dāng)代盛行的“半截子崇高主義”電影的發(fā)展提出拙見。
[Abstract]:Japanese director Takeshi Kitano is the most representative of the directors who made their debut in the 1980 s. This paper takes Kitano's films as the research object, interprets the unique aesthetic characteristics of violence in the film, and further investigates its lofty connotation from three aspects: the mirror language style, the narrative strategy and the theme of death. Explore the sublime beauty of film. First of all, Kitano's films coexist with violent and aesthetic elements, and the extreme images of cruelty and softness interweave with each other, forming their unique style of mirror language. The director expressed his extreme questioning of violence in a new way. In addition to stimulating the senses, violent images begin to carry a heavier role. They are no longer just the pushers and objects of the plot, but rather become the means of expressing life, expressing meaning, revealing philosophy or even expressing feelings. There is a sublime philosophical connotation in it. Secondly, the author defines the narrative style of Kitano's film, which is the reconstruction narrative, which is characterized by the moment, the short violent action before and after, the film picture presents a quiet state. The viewer gets a noble aesthetic experience in the movie rhythm from continuous to sudden change. The constant still picture makes the viewer feel intense depression and pain in the silence, while the sudden violent scene allows it to erupt in tolerance. Finally, from fear to pleasure, from exclamation to exhilaration, and in the burst of emotion, from suffering to sublimation to the sublime beauty. Finally, Kitano's film has its fixed theme of death. As an advanced form of expressing the integrity of life form, death committed to the scene of the film is not only a part of the plot setting, but also bears the cultural concept of Japanese national death worship. The director shows the heroine's fearlessness and dignity in the face of death and the traditional Bushido spirit, which shows the lofty value of transcending death. Through the detailed interpretation of the noble connotation of Kitano's violent aesthetics, I hope that this article can further grasp the embodiment of sublime beauty in contemporary movies. At the same time, the author will further reflect on the lack of the beauty of sublime under the influence of the post-modern context and the consumer society, and put forward some humble ideas for the development of the contemporary popular film "Half-sublime Doctrine".
【學(xué)位授予單位】：海南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J901

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