本文選題：文化大革命 + 文化思潮��； 參考：《陜西科技大學(xué)》2013年碩士論文

【摘要】：中國(guó)近代歷史一直是以政治為軸心在旋轉(zhuǎn)，政治局勢(shì)影響著甚至支配主宰著社會(huì)生命的各個(gè)方面，，從經(jīng)濟(jì)到文化，從生活到心理。而上世紀(jì)六、七十年代席卷中國(guó)的文化大革命（以下簡(jiǎn)稱文革)，更是這種“政治泛濫”的一個(gè)具體時(shí)代顯影。文革一般被認(rèn)為是從1966年5月中央政治局?jǐn)U大會(huì)議的召開(kāi)開(kāi)始，以1976年“四人幫”反革命集團(tuán)的粉碎畫下了句點(diǎn)。這一場(chǎng)“觸及全中國(guó)人靈魂”的文化革命，在許多學(xué)者和歷史學(xué)家的剖析和記載下，都被呈現(xiàn)為中國(guó)的“十年浩劫”。它更被著名學(xué)者戴錦華稱為“死亡與戕害人類的魔舞”。 歷史，所扮演的角色便是抵抗時(shí)間的流逝去追溯過(guò)去的人與事，繼而賦予某一個(gè)過(guò)去時(shí)間永存的魅力。然而，一段被認(rèn)為造成浩劫毀滅的歷史，如何被經(jīng)歷過(guò)那段時(shí)光以及后世人們所感受、記載、書寫以及描繪，其實(shí)是非常值得探討的。電影，這個(gè)藝術(shù)的“第七個(gè)孩子”的誕生，豐富了人類對(duì)歷史的描述能力。電影并不因?yàn)樗且环N藝術(shù)而失去它描繪歷史的權(quán)力，它透過(guò)自身獨(dú)特的敘事話語(yǔ)空間和影像世界，名正言順的成為言說(shuō)歷史的一個(gè)文本。電影給我們一種全新類型的歷史，更為我們呈現(xiàn)一個(gè)多層次的過(guò)去。 本論文主要是對(duì)1978年改革開(kāi)放后所攝制的敘事背景有關(guān)文化大革命的電影進(jìn)行分析，探討這些影片里對(duì)文革的刻畫，試圖勾勒出這些文革再現(xiàn)與當(dāng)代中國(guó)文化情境的關(guān)聯(lián)性。自80年代以來(lái)，我國(guó)的文化情境已經(jīng)產(chǎn)生了頗多變化。這些文化情境及電影敘事的變徖筆者主要分為三個(gè)部分來(lái)闡述：第一部分為文革過(guò)后的整個(gè)80年代；第二部分為90年代后中國(guó)高速邁入全球化和市場(chǎng)經(jīng)濟(jì)化時(shí)期；第三部分為21世紀(jì)以來(lái)的文革題材電影創(chuàng)作。
[Abstract]:The modern history of China has been revolved on the axis of politics. The political situation affects and even dominates all aspects of social life, from economy to culture, from life to psychology. The Cultural Revolution, which swept China in the 1960s and 1970s, is a concrete manifestation of this "political flood". The Cultural Revolution was generally considered to begin with the opening of the enlarged meeting of the political Bureau of the CPC Central Committee in May 1966, and ended with the smashing of the Gang of four in 1976. This cultural revolution, which touches the soul of the whole Chinese people, has been presented as "ten years of catastrophe" by many scholars and historians. It is more famous scholar Dai Jinhua called "death and killing of mankind's magic dance." The role of history is to resist the passage of time to trace past people and events, and then endow a past time with lasting charm. However, it is worth exploring how a history that is believed to have caused havoc and destruction was experienced during that period and the feelings, records, writing, and depictions of later generations. Film, the birth of the seventh child of the art, enriches man's ability to describe history. The film does not lose its power to depict history because it is an art. It becomes a text of history through its own unique narrative discourse space and image world. Film gives us a new type of history, and we present a multi-level past. This paper mainly analyzes the narrative background of the Cultural Revolution made after the reform and opening up in 1978, discusses the depiction of the Cultural Revolution in these films, and attempts to outline the relevance between these reappearance of the Cultural Revolution and the contemporary Chinese cultural situation. Since 1980's, the cultural situation of our country has produced quite many changes. The author mainly divides into three parts: the first part is the whole 80's after the Cultural Revolution, the second part is the period of globalization and market economy after the 1990s. The third part is the film creation of the Cultural Revolution since the 21 st century.
【學(xué)位授予單位】：陜西科技大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J909.2

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本文編號(hào)：1872191