發(fā)布時(shí)間：2018-05-08 09:14

  本文選題：英模電影 + 農(nóng)民��； 參考：《電影文學(xué)》2016年24期

【摘要】：本文以韋伯"卡理斯瑪"理論介入英模題材電影,分析具有時(shí)代意義的三部電影中的農(nóng)民形象,《焦裕祿》中的農(nóng)民是被動(dòng)者、被救助的一方;《孔繁森》體現(xiàn)了農(nóng)民和官員在信仰與生命面前是平等的;《第一書(shū)記》中的農(nóng)民有個(gè)性和強(qiáng)烈的時(shí)代特點(diǎn)。歷史地看,英模電影對(duì)農(nóng)民的刻畫(huà)有越來(lái)越貼近農(nóng)民實(shí)際、關(guān)注農(nóng)民個(gè)體的趨勢(shì)。英模電影中的農(nóng)民及其他群眾形象在當(dāng)代影壇上雖然總體不鮮明,但在慢慢呈現(xiàn)寫(xiě)實(shí)和立體化趨勢(shì)。
[Abstract]:In this paper, Weber's theory of "Carlisma" is used to get involved in English movie-themed films, and the images of peasants in three films of epoch significance are analyzed. The peasants in "Jiao Yulu" are passive. Kong Fansen embodies the equality of peasants and officials in the face of faith and life, and the peasants in the first Secretary have personality and strong characteristics of the times. Historically, the portrayal of peasants in English model films is more and more close to the reality of farmers and the trend of paying close attention to individual farmers. Although the images of peasants and other masses in English model films are not bright in the contemporary film world, they are showing realistic and three-dimensional trend.
【作者單位】： 云南師范大學(xué);
【基金】：云南省哲學(xué)社會(huì)科學(xué)藝術(shù)科學(xué)規(guī)劃項(xiàng)目“區(qū)域國(guó)際語(yǔ)境下云南題材影視創(chuàng)作研究(項(xiàng)目號(hào):A2016 QND015)”階段性成果
【分類號(hào)】：J905
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本文編號(hào)：1860817