本文選題：吳君如 + 表演創(chuàng)作�。� 參考：《重慶大學(xué)》2014年碩士論文

【摘要】：吳君如是1985年至2005年20年間全港累計(jì)票房最高的女演員，并超過了張曼玉、梅艷芳等人，是香港影壇難得的不以美貌博票房的女演員。她出道至今以獨(dú)特的夸張、扮丑、自諷的諧星形象叱詫著香港喜劇片市場。在王晶、黃百鳴、周星馳等人的經(jīng)典喜劇電影中也無不閃現(xiàn)著她標(biāo)志性的面孔。 迄今為止她收獲了第4屆中國香港電影金紫荊獎(jiǎng)最佳女主角、第5屆香港電影評(píng)論學(xué)會(huì)獎(jiǎng)最佳女主角、第18屆香港電影金像獎(jiǎng)最佳女主角、第40屆臺(tái)灣電影金馬獎(jiǎng)最佳女主角、第4屆華語電影傳媒大獎(jiǎng)最受歡迎女演員銅獎(jiǎng)（港臺(tái)部分）、光線傳媒“2009真維斯娛樂大典”年度電影女演員（港臺(tái)）、第10屆長春電影節(jié)金鹿獎(jiǎng)最佳女配角、第9屆意大利亞洲電影節(jié)最佳女主角、第14屆中國電影華表獎(jiǎng)優(yōu)秀境外華裔女演員獎(jiǎng)等殊榮。 她從影近30年，或扮丑裝傻，或帥氣剛強(qiáng)，亦或溫情堅(jiān)韌，，她扮演了許許多多深入人心的角色，包括霸王花、都市白領(lǐng)、垃圾婆、妓女等等。吳君如在喜劇表演上通過以“丑”為“美”的方式為她自己開辟了一條另類且成功的路線。迄今為止，她已然從一個(gè)香港電視工業(yè)的“產(chǎn)物”發(fā)展到了量產(chǎn)的港片演員，最后成為了香港電影圈的明星符號(hào)。 她所參演的影片雖夠不上“大片”的定義，但是對(duì)于香港電影或香港社會(huì)而言卻有著不同尋常的意義。吳君如的成功應(yīng)歸功于特定地區(qū)在特定的年代生產(chǎn)了特定的類型片，所以她也可謂是后工業(yè)時(shí)代的“產(chǎn)物”，她在影片中的狂歡與消解透露著濃濃的后現(xiàn)代的氣息。本文將運(yùn)用電影表演藝術(shù)創(chuàng)作、電影學(xué)理論分析，結(jié)合舉例論證與對(duì)比論證的方式，梳理吳君如不同階段的表演風(fēng)格，總結(jié)她在特定的時(shí)代里喜劇表演上的獨(dú)樹一幟，以及對(duì)吳式喜劇現(xiàn)階段的處境迷思進(jìn)行解析。
[Abstract]:Wu Junru was the highest-grossing actress in Hong Kong between 1985 and 2005, and surpassed Zhang Manyu, Mei Yanfang and others. She was a rare actress in Hong Kong who did not take a good look at the box office. Her unique exaggeration, ugliness, and sarcasm have surprised the Hong Kong comedy market. In Wang Jing, Huang Baiming, Zhou Xingchi and others classic comedy films also flashed her iconic face. So far, she has won the 4th Hong Kong Golden Bauhinia Award for Best Actress, the 5th Hong Kong Film Review Society Award for Best Actress, the 18th Hong Kong Film Awards for Best Actress, and the 40th Taiwan Film Golden Horse Award for Best Actress. The 4th Chinese Film Media Award is the most popular actress bronze award (Hong Kong and Taiwan part, ray media "2009 Jens Entertainment" film actress of the year) (Hong Kong and Taiwan, 10th Changchun Film Festival Golden Deer Award for Best supporting Actress, The 9 th Italian Asian Film Festival Best Actress, the 14 th China Film Award, Outstanding Foreign Chinese Actress Award, etc. For nearly 30 years, she has played ugly, silly, handsome, or tenacious, she has played a lot of popular roles, including overlord flower, urban white-collar, garbage woman, prostitute and so on. Wu Junru opened up an alternative and successful route for herself by using ugliness as beauty in a comedy performance. So far, she has grown from a "product" of the Hong Kong television industry to a mass-produced Hong Kong actress, eventually becoming a star symbol in the Hong Kong film industry. Her films, though not enough to define blockbusters, have an unusual meaning for Hong Kong films or for Hong Kong society. Wu Junru's success can be attributed to the production of certain types of films in certain regions in certain times, so she is also a "product" of the post-industrial era. Her revelry and deconstruction in the film reveals a strong post-modern atmosphere. This article will use the film performing art creation, the cinematology theory analysis, unifies the example demonstration and the contrast argument way, combs Wu Junru different stage performance style, summarizes her in the specific era comedy performance unique, And the analysis of the situation of Wu comedy at this stage.
【學(xué)位授予單位】：重慶大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J912

【參考文獻(xiàn)】

相關(guān)期刊論文 前2條

1 鐘蔚;;論當(dāng)代香港僵尸影片的心理景觀[J];齊齊哈爾師范高等專科學(xué)校學(xué)報(bào);2010年04期

2 張守慎;表s珊吞鍤W派的r-娭——表演藝術(shù)理娭學(xué)習(xí)筆

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