本文選題：多重文化 + 李安�。� 參考：《山東師范大學(xué)》2014年碩士論文

【摘要】：李安出身書香世家，自幼備受“子曰詩云”熏陶，對儒、道、佛等中華文化有極深厚感情。同時，他對西方文化亦有深刻理解，是一位學(xué)貫中西，在全球電影界有著巨大聲望的華人導(dǎo)演。多元文化共存的現(xiàn)代社會，他清醒認(rèn)識到弘揚(yáng)民族傳統(tǒng)，文化征服的力量。因此，他自覺服膺中國傳統(tǒng)倫理，將傳統(tǒng)倫理文化、民族符號根植其中，展示了海外游子深沉堅韌的尋根情懷，表現(xiàn)出中國電影人強(qiáng)烈的文化歸屬意識和延續(xù)傳統(tǒng)的主動擔(dān)當(dāng)。同時，他又不墨守傳統(tǒng)成規(guī)，迷信古人權(quán)威，而是寬容接納西方文明，尊崇文化時代特色。文化包容、兼收并蓄的中和態(tài)度共同構(gòu)成了李安電影的精神皈依。 自1992年推出處女作《推手》以來，李安共創(chuàng)作了《喜宴》（1993）、《飲食男女》（1994）、《理智與情感》（1995）、《冰風(fēng)暴》（1997）、《與魔鬼共騎》（1999）、《臥虎藏龍》（2000）、《綠巨人》（2003）、《斷背山》（2005）、《色戒》（2007）、《制造伍德斯托克》（2009）、《少年派的奇幻漂流》（2012）等11部作品，其中5部中文片，6部外語片。題材豐富，貫通中西；文化啟悟，可謂深長。本文以這11部電影為分析文本，擬分四章，分別從李安電影的主題意蘊(yùn)、影像風(fēng)格、多重性文化教養(yǎng)及偏頗得失等方面論述李安電影的多重文化特征。 緒論主要論述論文的課題背景及研究緣起，認(rèn)真梳理了課題的研究現(xiàn)狀、存在問題及研究價值。同時針對目前研究非系統(tǒng)性、非整體性的特點(diǎn)，提出了自己的研究思路與創(chuàng)新之處。 第一章主要論述李安電影的主題意蘊(yùn)。對人的關(guān)注是李安電影中永恒不變的主題。他的電影中始終貫穿的是父親形象的探討、人性與人倫的反思等文化議題。通過不同文化背景下，父親形象的困境與重構(gòu)，指出了傳統(tǒng)倫理文化在現(xiàn)代社會中面臨的困境及出路。此外，對人性的探討是貫穿李安電影的又一主題思想，他不斷擴(kuò)大自我行為的邊界，到達(dá)人性人情的共通處，通過對不同文化背景中，復(fù)雜人性的深刻揭露與審視，傳達(dá)出李安對人的普遍關(guān)注。 第二章主要論述李安電影的影像風(fēng)格。李安虛心學(xué)習(xí)好萊塢先進(jìn)電影語言和制作體制，推崇戲劇式文本建構(gòu)；同時又用傳統(tǒng)文化為其樹立起一面鏡子。靜水流深的鏡頭語言、濃淡相宜的電影色調(diào)、有節(jié)制的音樂鋪陳、干凈利落的剪輯和場面調(diào)度以及詩意的電影意境等，，形成了李安式淡雅平和的影像風(fēng)格。這種整體上穩(wěn)、平、緩的柔性與電影主題的表達(dá)高度契合。 第三章主要論述李安電影的主題意蘊(yùn)與影像風(fēng)格的成因。李安之所以能游刃有余的自由游走中西文化間，對人類生存哲學(xué)有深刻體悟，歸根結(jié)底源自他多重性的文化教養(yǎng)、邊緣性的文化身份以及生存環(huán)境的多元。這種不可復(fù)制的文化經(jīng)歷成就了其不可多得的經(jīng)典力作。 第四章主要論述李安電影在多重文化探尋中的得失考辯。他的電影在人文意蘊(yùn)與商業(yè)訴求，民族性與時代性中達(dá)成了難能可貴的平衡，但也存其不足。因此，進(jìn)一步考辯其偏頗，從而進(jìn)一步啟迪華語電影的未來發(fā)展還是有必要的。 李安以世界性的視野書寫故事，以一種不偏不倚、不疾不徐的敘事態(tài)度，將東西方文化融會貫通，保持著一顆文化表達(dá)的赤子之心，傳達(dá)出一個中國電影人尊重藝術(shù)、尊重電影的可貴精神。李安的電影，站在東方的文化立場上來說，是西方的；站在西方的文化立場上來說，則是東方的。正是這“亦東亦西”的特質(zhì)，使他的電影具有了超越東西方的藝術(shù)魅力。
[Abstract]:Ang Lee, who is a scholar of the book of calligraphy, has been nurtured by "Confucius" and has profound feelings about Chinese culture such as Confucianism, Taoism and Buddhism. At the same time, he has a profound understanding of western culture. He is a Chinese director who has a great reputation in the world of Chinese and Western culture. As a result of the power of cultural conquest, he consciously took the traditional Chinese ethics, rooted the traditional ethical culture and national symbols, showed the deep and tenacious seeking of the overseas visitors, showed the strong cultural sense of belonging and the continuation of the tradition of the Chinese filmmakers. At the same time, he did not stick to the traditional rules and superstitious the authority of the ancients. It is tolerant of Western civilization and respecting the characteristics of the cultural age. Cultural inclusion and eclectic neutralization together constitute the spiritual conversion of Ang Lee's films.
Since the launch of the debut of the virgin in 1992, Li Angong has created the wedding banquet (1993), drink and eat men and women (1994), reason and emotion (1995), ice storm (1997), the devil ride (1999), crouching tiger, Hidden Dragon (2000), the giant Green Giant (2003), the back mountain (2005), the color ring (2007), the Woodstock > (2009), the juvenile fantasy drifting (2012) and other 11 There are 5 Chinese films and 6 foreign language films. The subjects are rich in subject matter and through the Chinese and Western countries; the cultural enlightenment is long. This article takes the 11 films as the analysis text and intends to divide the four chapters to discuss the multiple cultural characteristics of Ang Lee films from the themes of Ang Lee's film, image style, multiple cultural rearing and biased gains and losses.
The introduction mainly discusses the background and origin of the thesis, and carefully combs the research status, problems and value of the research. At the same time, it puts forward its own research ideas and innovation in view of the non systematic and non holistic characteristics of the research.
The first chapter mainly discusses the theme of Ang Lee's film. The attention to people is the eternal theme in Ang Lee's film. His film has always run through the cultural issues such as the discussion of the image of the father, the reflection of human nature and human nature, and the dilemma and reconstruction of the image of the father in different cultural backgrounds, and points out the traditional ethics culture in modern society. In addition, the discussion of human nature is another theme that runs through the Ang Lee film. He constantly expands the boundary of his self behavior and reaches the common place of human nature. Through the profound disclosure and examination of the complex human nature in different cultural backgrounds, he conveys Ang Lee's universal attention to people.
The second chapter mainly discusses the image style of Ang Lee's film. Ang Lee's heart to learn the language and production system of Hollywood's advanced film, and to admire dramatic text construction; at the same time, it sets up a mirror with traditional culture. Scene scheduling and poetic movie artistic conception have formed a Ang Lee style and elegant image style. The overall stability, flat, gentle flexibility and the expression of the film theme are highly fit.
The third chapter mainly discusses the meaning of the theme of Ang Lee's film and the causes of the image style. The reason why Ang Lee can freely walk away from the Chinese and Western cultures and have a profound understanding of the philosophy of human existence, in the final analysis, is derived from his multiplicity of cultural rearing, marginal cultural identity and the pluralism of the living environment. This non replicable cultural classics The calendar has accomplished its rare classics.
The fourth chapter mainly discusses the gains and losses of Ang Lee's film in multiple cultural exploration. His film has reached an invaluable balance in the cultural implication, the commercial appeal, the nationality and the times, but also has its shortcomings. Therefore, it is necessary to further examine its bias and further the future development of Qi Dihua's film.
Ang Lee writes stories in a worldwide field of vision with an unbiased, unpleasant narrative attitude, integrating the eastern and Western cultures, maintaining a cultural expression of the red heart and conveying a Chinese filmmaker's respect for art and respect for the valuable spirit of the film. Ang Lee's film, standing on the eastern cultural standpoint, is the West. From the Western cultural standpoint, it is the East. It is the characteristic of "also East and west", which makes his films have the artistic charm beyond the East and the West.

【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J905

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