本文選題：姜文導(dǎo)演 + 傳播　； 參考：《重慶工商大學(xué)》2013年碩士論文

【摘要】：從充滿陽光幻想的青春歲月，到厚重沉淀的歷史反思，從夢幻囈語的復(fù)雜人生，最后是自由奔放的人性考量。姜文導(dǎo)演帶來的不僅僅是影視鏡像呈現(xiàn)，，更帶給大眾一種深度思考。從1994年至2010年這16年間，姜文總共導(dǎo)演了四部影片，分別為1994年的《陽光燦爛的日子》、2000年的《鬼子來了》、2007年的《太陽照常升起》和2010年的《讓子彈飛》。姜文導(dǎo)演的四部影片均具有鮮明地藝術(shù)特色、獨特的電影符號以及創(chuàng)造了中國電影商業(yè)神話，姜文導(dǎo)演的四部影片都深深地烙上了“姜式”印章，同時也被業(yè)界稱為中國影視界的“奇葩”而引起了國內(nèi)外強(qiáng)烈的反響和爭議。 本文對姜文電影的研究主要分為5章，第1章是緒論部分，主要對姜文導(dǎo)演的四部影片分別從敘事學(xué)、美學(xué)等理論基礎(chǔ)上進(jìn)行解讀，結(jié)合姜文導(dǎo)演影片的相關(guān)資料文獻(xiàn)，主要針對姜文導(dǎo)演的四部影片總體從藝術(shù)層面逐一分析。第2章主要論述姜文導(dǎo)演電影的特性，從敘事藝術(shù)與人物形象為切口，探討姜文如何在矛盾兩元對立環(huán)境下講述大眾與人生，如何運(yùn)用獨特的敘事視角表現(xiàn)主題，如何在厚重的歷史形態(tài)下表達(dá)個體訴求。第3章主要是從影視傳播學(xué)的視角討論姜文導(dǎo)演四部影片的傳播效果，援引影視傳播效果論逐一分析四部作品的院線傳播、網(wǎng)絡(luò)傳播的情況，以及探討為何在市場遭遇下姜文電影票房大起大落的原因。第4章是姜文電影的新歷史主義和后現(xiàn)代語境，希望能夠給中國本土同類導(dǎo)演，提供其影視作品在創(chuàng)作與傳播路徑上的借鑒。第5章為結(jié)語部分，主要總結(jié)姜文導(dǎo)演對于中國影視劇方面的卓越貢獻(xiàn)。
[Abstract]:From the youthful years full of sunshine fantasy to the historical reflection of heavy precipitation, from the complicated life of fantasy to the free and unrestrained consideration of human nature. What Jiang Wen director brings not only film and television mirror image to present, but also bring a kind of deep thinking to the masses. During the 16 years from 1994 to 2010, Jiang Wen directed four films, the Sunshine in 1994, the Ghost in 2000, the Sun as usual in 2007, and the bullets in 2010. The four films directed by Jiang Wen all have distinctive artistic characteristics, unique movie symbols and the creation of Chinese film commercial myths. The four films directed by Jiang Wen have all been branded with the seal of "Jiang style". At the same time, it is also called the "wonderful work" of Chinese film and television industry, which has aroused strong reaction and controversy at home and abroad. The research of Jiang Wen film is divided into five chapters in this paper. The first chapter is the introduction part, which mainly interprets the four films directed by Jiang Wen on the basis of narratology, aesthetics and other theories, and combines with the relevant documents of Jiang Wen director film. Mainly directed against Jiang Wen's four films from the overall level of art one by one analysis. The second chapter mainly discusses the characteristics of Jiang Wen's film, from the perspective of narrative art and character image, discusses how Jiang Wen tells the public and life in the ambivalent and dualistic environment, and how to use the unique narrative perspective to express the theme. How to express individual demands in the heavy historical form. The third chapter mainly discusses the communication effect of four films directed by Jiang Wen from the perspective of film and television communication. And to explore why the market encountered under Jiang Wen film box-office ups and downs of the reasons. The fourth chapter is the new historicism and postmodern context of Jiang Wen's film, hoping to give the same kind of director in China, and provide the reference of his film and television works in the creation and dissemination path. Chapter 5 is the conclusion, which summarizes Jiang Wen's outstanding contributions to Chinese film and TV drama.
【學(xué)位授予單位】：重慶工商大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J905;G206

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本文編號：1861952