本文選題：重慶元素 + 城市形象　； 參考：《西南大學》2014年碩士論文

【摘要】：城市題材的電影與城市本身有著“需要”與“被需要”的關系。電影取材來源于城市生活,表達城市里各類實際存在和將來可能出現(xiàn)的問題,觀眾在觀看電影的過程中,結合自身的生命體驗和成長經(jīng)歷闡釋電影文本,重新認識城市,形成對城市的理解,找尋與城市融洽相處的關系,對自己身處的城市進行反思,外界通過觀看這座城市的電影,借助導演的鏡語表達理解這座城市。因此,電影對城市的表達顯得至關重要。電影生動形象的畫面效果、有趣的故事情節(jié)、傳播廣泛等特征承載著塑造城市形象的重要使命。上海和香港利用自身成熟的城市發(fā)展和眾多社會文化資源,利用光影打造了一個電影中的影像城市,使得上海和香港的城市形象深入人心。 重慶作為一個偏遠的西部小城,與上海、香港相比,電影作品甚少,尚未能塑造統(tǒng)一穩(wěn)定的城市形象的程度。以歷史的縱向維度來考查,重慶的電影有三段十分明顯的時間分期。1938年開始,重慶出現(xiàn)在中國電影史里,進入大眾視線。而此前,重慶充當?shù)闹皇强纯偷慕巧�。此�?重慶電影發(fā)展呈現(xiàn)的三段式結構里,每一階段都有表現(xiàn)出不同的主題。第一段是抗日戰(zhàn)爭時期,重慶躍升為民國政府的陪都,在此期間拍攝了大量表現(xiàn)民族戰(zhàn)爭、民族正義的電影。陪都身份消失后,重慶在中國電影史中的地位明顯下降,隱退在眾多面目模糊、沒有明顯特征的城市中。1990年代的重慶發(fā)生了幾件引人注目的事情,如三峽移民工程,1997年成為中國第四大直轄市,以及重慶突出的城鄉(xiāng)二元結構等,重慶城市在十年內發(fā)生了巨大的變化,城市面貌日新月異,經(jīng)濟快速發(fā)展,吸引了眾多導演來到重慶尋找故事題材。重復的影像呈現(xiàn)建構起了穩(wěn)定的重慶元素,重慶城市電影作為區(qū)域電影的一環(huán),也正在建立起屬于自己的類型、風格和敘事模式,為城市和區(qū)域電影提供了較高的辨識度和獨特性,固化下來的重慶元素利用電影影像為觀眾呈現(xiàn)了專屬于重慶的城市形象。 論文第一章節(jié)對重慶元素的概念進行了界定,認為重慶元素包涵了有形的物質符號和無形精神內容,即物質、精神文化元素。將重慶元素劃分為自然景觀類元素和人文景觀類元素。并研究了重慶的地域文化,試圖在重慶地域文化里尋找重慶元素的由來。論文第二章對新時期以來在重慶發(fā)生或取景的中國電影中的重慶元素進行了歷史的縱向梳理,分別對新時期至1980年代、1990年代、21世紀初到2012年三個時期里的重慶元素進行了梳理：試圖揭示重慶元素在影像中的建構邏輯,試圖發(fā)現(xiàn)反映重慶城市風貌的重慶元素與電影影像表征的互動關系里的藝術內涵與價值。論文第三章以影像解讀的方法對電影中的重慶元素進行了分析解讀,分析了以長江三峽和霧為主的自然景觀類元素,陪都文化、城市空間、城市文化、重慶城市人為主的人文景觀類元素。探討重慶元素在重慶影像中的運用,重慶影像承載的城市形象宣傳的呈現(xiàn)出來的效果。
[Abstract]:The film and the city itself have the relationship between "need" and "need". The film comes from the city life, expresses the actual existence of the city and the possible problems that may arise in the future. In the course of watching the movie, the audience can explain the city and the city with its own life experience and the long experience to explain the film text. To understand the city, to find the relationship with the city, to reflect on the city in which it is in, to understand the city by watching the film of the city, and by the mirror of the director. Shanghai and Hongkong have made use of their own mature urban development and numerous social and cultural resources to make use of light and shadow to create an image city in a movie, making the city image of Shanghai and Hongkong deeply rooted in the hearts of the people.
Compared with Shanghai and Hongkong, Chongqing is a remote western small city, and the film works are very small compared with Shanghai and Hongkong. It has not yet been able to shape a unified and stable image of the city. By historical longitudinal dimensions, Chongqing films have three distinct periods of time in.1938 years, and Chongqing has come into the public view in the history of Chinese film. Chongqing is only the role of the visitors. Since then, in the three segment structure of the Chongqing film development, each stage shows different themes. The first section is the Anti Japanese War, and Chongqing jumped to the capital of the Republic of China. During this period, a large number of films showing national war and national justice were filmed. After the identity of the accompanying capital disappeared, Chongqing was disappearing. In the history of China's film history, the status of the.1990 years of the.1990 years in the cities of the Three Gorges, such as the Three Gorges Emigration project, became the fourth largest municipality in China, and the two yuan structure in Chongqing, and the city of Chongqing took place in ten years. The big change, the city face changing and rapid economic development, attracted many directors to come to Chongqing to find story themes. Repeated images presented a stable Chongqing element, Chongqing city film as a part of the regional film, is also building its own type, style and narrative model for urban and regional films. It provides a high degree of identification and uniqueness. The solidified Chongqing elements show Chongqing's image of the city with the film and video.
The first chapter of the paper defines the concept of Chongqing element, and thinks that the elements of Chongqing contain tangible material symbols and intangible spiritual content, that is material and spiritual culture elements. The elements of Chongqing are divided into natural landscape elements and human landscape elements. The regional culture of Chongqing is studied in order to find in Chongqing regional culture. The origin of Chongqing elements. The second chapter of the paper makes a historical longitudinal combing of the elements of Chongqing in the Chinese films that have occurred or captured in Chongqing since the new period. The Chongqing elements in the new period to 1980s, 1990s, from the beginning of twenty-first Century to the three period of 2012 are carried out to try to reveal the construction of the elements of Chongqing in the image. Structure logic, trying to find the artistic connotation and value of the interactive relationship between the Chongqing elements and the film images of Chongqing city. The third chapter of the paper analyzes the elements of Chongqing in the film by means of image interpretation, and analyzes the natural landscape elements, the culture of accompanying capital and the urban space of the Three Gorges and the fog. City culture, Chongqing city people mainly human landscape elements. Explore the use of Chongqing elements in the Chongqing image, and the effect of the city image propaganda of Chongqing image.

【學位授予單位】：西南大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J905

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本文編號：1837997