本文選題：邪典影視 + 藝術(shù)形態(tài)　； 參考：《昆明理工大學(xué)》2015年碩士論文

【摘要】：本文主要研究英國邪典影視的藝術(shù)形態(tài)、文化意蘊(yùn)以及從中反映出的關(guān)乎人類精神與心靈幽暗處的一些問題。邪典影視在20世紀(jì)50年代萌芽于美國,逐漸發(fā)展至較為成熟的類型,但一直作為主流影視世界外的異類。由于跨風(fēng)格、跨類型的特征,因此在不同地區(qū)均以不同面貌呈現(xiàn)于觀眾面前。隨著文化融合不斷的加深,中國內(nèi)地小部分觀眾在了解這一奇異的影視奇觀之后,被其獨(dú)特的表現(xiàn)形式所吸引,但無論是主流影視界還是學(xué)術(shù)理論界對邪典影視的研究都還很少,使其難以進(jìn)入公眾視野。本文選取英國的邪典影視作為研究對象,一來可以有機(jī)會(huì)更微觀地闡述邪典影視的概念,剖析邪典影視的構(gòu)成及其自身的藝術(shù)特質(zhì),為后來的研究者打開繼續(xù)研究邪典影視的大門,并希望觀眾在主流商業(yè)大片和藝術(shù)電影之外偶然接觸到邪典影視作品之余,能通過筆者對這一類型影視作品的闡述及剖析,更深層次地了解這一奇異的文化現(xiàn)象,繼而希望邪典影視作品能通過此類途徑走入更多觀眾的視野；二來旨在通過剖析英國邪典影視作品的藝術(shù)價(jià)值、文化內(nèi)涵、美學(xué)特征等,增加已有受眾群對該類影視作品文化品位多樣性的選擇,從而讓更多的觀眾了解邪典影視作品。本文先分別從邪典影視歷史發(fā)展過程、邪典影視在英國的發(fā)展兩個(gè)方面來闡述作為一種媒介景觀的邪典影視,從不同的角度對邪典影視的概念加以界定和闡釋,為厘清后文的寫作思路奠定了基礎(chǔ)。然后,詳細(xì)地從英國邪典影視的藝術(shù)形態(tài)和文化意蘊(yùn)對英國邪典影視的藝術(shù)形態(tài)進(jìn)行深入探析,并精心挑選了極具典型性的英國影視作品進(jìn)行文本分析。本文認(rèn)為,英國邪典影視的藝術(shù)形態(tài)表現(xiàn)在故事題材更多表現(xiàn)社會(huì)的多元和當(dāng)代人的精神現(xiàn)狀,在視聽語言風(fēng)格方面通過反傳統(tǒng)的鏡頭處理、運(yùn)用多變的色彩與光線、旁白中情緒化的聲音等不斷進(jìn)行創(chuàng)新,嫻熟地交叉運(yùn)用情節(jié)性敘事和“反情節(jié)性”敘事、敘述人稱與視點(diǎn)、多樣性結(jié)構(gòu)故事等,形成獨(dú)特的敘事風(fēng)格。而英國邪典影視的文化意蘊(yùn)就在于,恰到好處地再現(xiàn)了青年亞文化、反映了英國社會(huì)的變遷,尤其是其中的女性形象,其外貌、言行、心理等都體現(xiàn)出在亞文化群體中女性“并不真正在場”。在此基礎(chǔ)上,歸納出英國邪典影視的獨(dú)特之處以及探究“邪典”之于中國內(nèi)地影視創(chuàng)作有無影響的可能。
[Abstract]:This paper mainly studies the artistic form, cultural implication and some problems related to the dark place of human spirit and soul. Evil film and television originated in the United States in the 1950s, and gradually developed to a more mature type, but has been a mainstream film and television outside of the world. Because of the cross-style, cross-type features, so in different regions with different features in front of the audience. With the deepening of cultural integration, a small number of viewers in mainland China have been attracted to this strange film and television spectacle by its unique forms of expression. However, no matter the mainstream film and television circles or academic theorists, there is little research on the evil film and television, which makes it difficult to enter the public view. In this paper, the author chooses the British evil film and television as the research object, so as to have an opportunity to explain the concept of the evil classic film and television more microscopically, and to analyze the composition of the evil classic film and television and its own artistic characteristics. For later researchers to open the door to continue to study evil film and television, and hope that the audience in the mainstream commercial blockbusters and art movies, in addition to occasional exposure to evil film and television works, through the author of this type of film and television works of elaboration and analysis, To understand this strange cultural phenomenon at a deeper level, and then hope that the film and television works of the evil code can enter the field of vision of more audiences through this kind of channel; second, by analyzing the artistic value, cultural connotation, aesthetic characteristics of the film and television works of the British evil code, etc. To increase the audience's choice of cultural diversity of this kind of film and television works, so that more viewers can understand the evil film and television works. In this paper, first of all, from two aspects of the historical development process of evil film and television, the development of evil classic film and television in Britain, as a kind of media landscape, this paper defines and explains the concept of evil classic film and television from different angles. It lays a foundation for clarifying the thinking of the later writing. Then, from the perspective of the artistic form and cultural implication of the British evil film and television, this paper makes a thorough analysis of the artistic form of the British evil classic film and television, and carefully selects the most typical British film and television works for text analysis. This paper holds that the artistic form of the British evil film and television shows that the story subjects are more representative of the diversity of the society and the present spiritual situation of contemporary people, and in the aspect of audio-visual language style, it is handled by anti-traditional lens, and the changing colors and light are used. The emotional voice in the narration is constantly innovating, skillfully using the plot narration and the "anti-plot" narrative, the narration person and the viewpoint, the diverse structure story and so on, forms the unique narrative style. And the cultural implication of British evil film and television is that it appropriately reproduces the subculture of youth and reflects the changes in British society, especially the image of women, their appearance, their words and deeds. Psychology and so on reflect in the sub-cultural group the female "is not really present". On the basis of this, we conclude the unique features of British evil film and TV and explore the possibility of influence of evil code on film and television creation in the mainland of China.
【學(xué)位授予單位】：昆明理工大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：J905

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