本文選題：魯迅小說題材電影 + 江南形象　； 參考：《浙江師范大學》2013年碩士論文

【摘要】：魯迅先生的四部小說《祝�！�、《阿Q正傳》、《藥》、《傷逝》被改編成電影搬上了大銀幕。本文以“江南形象”為切入點,從文化地理學、美學、社會學等角度來梳理這四部影片所呈現(xiàn)的“江南形象”,進一步探討電影中的“江南文化”,以期在江南影像表達語境中獲取其地域文化價值及審美意義。文章論述的主要框架如下： 第一部分重點梳理這四部影片中所呈現(xiàn)出的江南景物意象,以期構建觀眾對“江南形象”的集體記憶。此部分既分析闡釋影片中“杏花春雨、粉墻黛瓦、石街窄巷、小橋流水”的江南自然物質意象的客觀具體存在,同時,結合影片的主題寓意,闡發(fā)影片時代背景下富有另類主觀情思的江南景物意象以及其所表達出來的文化意蘊,從而彰顯江南景物意象在電影想象與構建中的生態(tài)價值與文化表征。 第二部分主要分析人物形象作為敘事主體在影像中的個性呈現(xiàn)。特征人物作為聯(lián)結江南地域與文藝想象的鮮活形象,已成為了影像江南表達語境中一個不可或缺的文化標簽。此部分重點透過對影片所塑造的“祥林嫂”、“子君”、“阿Q”、“華老栓”這些江南時代政治背景下典型人物的剖析,旨在引申出江南人委屈隱忍的個性氣質。 第三部分整合闡發(fā)江南民俗在影片中所展呈出的文化意蘊。此部分通過對影片中江南過年、婚喪嫁娶、祭拜等民俗意象的闡述,進一步再現(xiàn)舊時代江南特有的地域文化。同時,通過對其中展現(xiàn)的江南民俗風情的“酒”、“茶館”、“越劇”、“民歌”的論述,從而梳理出江南獨具地域特色的文化內涵。 這四部電影中所譜系的江南景觀意象、人物形象、民俗意象足以引起受眾對“江南形象”的審美感知,而后現(xiàn)代主義電影中“江南形象”的淡化與消解,也使得進一步追尋“江南形象”在影像中的展呈,用“江南形象”的影響力打造新的“中國想象”成為當務之急。
[Abstract]:The four novels of Mr. Lu Xun, "blessing >", "a Q", "Medicine >", were adapted into a movie with a big screen. This paper, taking "the image of the south of the Yangtze River" as the breakthrough point, combs the "Jiangnan image" from the angles of cultural geography, aesthetics and sociology to further discuss the "Jiangnan culture" in the film, with a view to the river in the river. The main frame of the article is as follows:
The first part focuses on the image of the Jiangnan scenery presented in the four films, in order to construct the collective memory of the "Jiangnan image" by the audience. This part analyzes the objective concrete existence of the natural material images of the south of the Yangtze River in the film, which is "apricot flower and spring rain, powder wall Daiwa, narrow lane of stone street, small bridge water", and the theme of the film. The implication is to elucidate the image of the Jiangnan scenery and the cultural meaning expressed in the background of the film era, which is rich in alternative subjective feelings, and to highlight the ecological value and cultural representation of the image of the south of the Yangtze River in the imagination and construction of the film.
The second part mainly analyzes the personalities of the characters as the narrative subject in the image. As the vivid image of the Jiangnan region and the imagination of literature and art, the characters have become an indispensable cultural label in the expression context of the south of the Yangtze River. "Q" and "Hua Lao Shuan" are the typical figures in the political background of the Jiangnan era. The purpose is to draw out the character of the Jiangnan people.
The third part explains the cultural implication of the Jiangnan folk custom in the film. Through the exposition of the folk imagery of the film in the south of the Yangtze River, marriage and funeral marriage, and worship, this part further reproduces the unique regional culture of the Jiangnan in the old times. At the same time, through the "wine", "tea house", "Yue Opera" and "Yue Opera" of the folk customs of Jiangnan in the old times. The "folk song" is discussed in order to carve out the unique cultural connotation of Jiangnan's unique regional characteristics.
The images, characters and folklore images of the four films are enough to arouse the audience's aesthetic perception of the "Jiangnan image". The desalination and digestion of the "Jiangnan image" in the postmodernism film also make a further pursuit of the exhibition of "Jiangnan image" in the image, and create a new influence with the influence of "the image of the south of the Yangtze River". The "Chinese imagination" has become a top priority.
【學位授予單位】：浙江師范大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J905

【參考文獻】

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本文編號：1904398