本文選題：臥底片 + 敘事模式�。� 參考：《暨南大學(xué)》2014年碩士論文

【摘要】：臥底片作為香港警匪片的一種亞類型，以其懸疑色彩的劇情、強(qiáng)烈的沖突和具有悲劇色彩的人物形象等吸引了大批觀眾。尤其在《無間道》取得了巨大的成功之后，，一時(shí)間臥底片蔚為風(fēng)潮，并逐漸形成了一定的模式。在這些臥底片中，著重表現(xiàn)了臥底的生存狀態(tài)以及他們面臨的各種各樣的精神困境，并試圖解脫的努力。這與香港這個(gè)城市的特殊歷史文化背景息息相關(guān)，臥底片也成為香港文化的癥候式表達(dá)。 本文運(yùn)用文本細(xì)讀、類型研究法，對(duì)《無間道》之后的臥底片進(jìn)行分析，探討在臥底片發(fā)展過程中敘事模式的變化，并分析臥底的精神困境及困境產(chǎn)生的原因，揭示其在蘊(yùn)含在影片中的文化內(nèi)涵。在臥底片成為模式之后，自我發(fā)展和超越之路。 本文主要分為五個(gè)部分：緒論；第一章，對(duì)香港臥底片的敘事模式進(jìn)行分析，對(duì)比《無間道》前后敘事模式的差異；第二章，主要表現(xiàn)居于困境之中的臥底，并探討困境產(chǎn)生的原因；第三章，則闡述在香港歷史文化背景下，臥底片中的文化意蘊(yùn)；結(jié)語。
[Abstract]:Undercover films, as a subtype of Hong Kong police bandit films, have attracted a large audience with their suspense plot, intense conflict and tragic characters. Especially after the great success of Infernal Affairs, undercover films became popular and gradually formed a certain pattern. In these undercover films, it focuses on the existence of the undercover and the various spiritual difficulties they face, and attempts to extricate themselves. This is closely related to the special historical and cultural background of Hong Kong, and undercover films have become a symptom of Hong Kong culture. In this paper, the author analyzes the undercover films after Infernal Affairs, discusses the changes of narrative mode during the development of the undercover films, and analyzes the spiritual dilemma of the undercover films and the causes of the predicament. Reveal its cultural connotation in the film. After undercover films become models, self-development and transcendence are the way. This paper is mainly divided into five parts: introduction; chapter one, the analysis of the Hong Kong undercover film narrative mode, compare the narrative mode before and after the "Infernal Affairs" differences. The third chapter discusses the cultural implication in the undercover film under the historical and cultural background of Hong Kong.
【學(xué)位授予單位】：暨南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J905

【參考文獻(xiàn)】

相關(guān)期刊論文 前2條

1 戴錦華;不可見的女性：當(dāng)代中國電影中的女性與女性的電影[J];當(dāng)代電影;1994年06期

2 胡克;一種反特片模式[J];電影藝術(shù);1999年04期

本文編號(hào)：1870338