發(fā)布時(shí)間：2018-05-18 18:43

  本文選題：中國災(zāi)難題材電影 + 倫理敘事　； 參考：《湖南工業(yè)大學(xué)》2017年碩士論文

【摘要】：近幾年,在娛樂化浪潮和電影產(chǎn)業(yè)全球化的沖擊下,災(zāi)難片頻繁地出現(xiàn)在電影熒幕上。但不容忽視的是,中國災(zāi)難題材電影在政治性與商業(yè)化的夾縫中進(jìn)退維艱,發(fā)展相對緩慢。自1957年石揮導(dǎo)演《霧海夜航》,到2002年張建亞拍攝《極地營救》,從2008年馮小寧拍攝《超強(qiáng)臺風(fēng)》,到2010年馮小剛打造《唐山大地震》,中國災(zāi)難題材電影走了一條漫長而蜿蜒之路。在人與自然的關(guān)系問題上,中國災(zāi)難題材電影繼承了傳統(tǒng)天人合一的思想,樂于傳授、教導(dǎo)觀眾吸取教訓(xùn),尊重人與自然平等和諧。相較而言,西方災(zāi)難題材電影更擅長體現(xiàn)西方社會一貫對抗自然的文化傳統(tǒng)。在家與國,個(gè)體與集體關(guān)系上,傳統(tǒng)儒家主張克己復(fù)禮,移孝作忠,中國災(zāi)難題材電影尤其像《驚濤駭浪》這種以救災(zāi)官兵為主要表現(xiàn)對象的電影,大力張揚(yáng)的也正是舍小家為大家,舍個(gè)人為集體的犧牲精神。在人我關(guān)系上,傳統(tǒng)儒家以忠恕之道踐行自愛愛他的思想,時(shí)至今日,我們雖然寬容現(xiàn)實(shí)生活中出于生命本能的自救,但在公共輿論與電影藝術(shù)里,又習(xí)慣于從道德的高度歌頌?zāi)切┥峒簽槿恕⒏挥蟹瞰I(xiàn)精神的人物與形象。這種自愛愛他、互幫互助的思想,歸根結(jié)底源于從鄉(xiāng)土意識發(fā)展而來的家國情懷與文化認(rèn)同,中國災(zāi)難題材電影,也常�？桃怃秩具@樣的情懷與文化。相比一般生活經(jīng)驗(yàn),人們對災(zāi)難經(jīng)驗(yàn)極度缺乏,中國災(zāi)難題材電影有意無意地提供了間接的災(zāi)害經(jīng)驗(yàn),培養(yǎng)了觀眾的憂患意識。這些災(zāi)害經(jīng)驗(yàn)與憂患意識的提供與培植,也讓我們看到中國災(zāi)難題材電影不光歌頌傳統(tǒng)的犧牲精神,也大力倡導(dǎo)生命的可貴與生存的意義。在中國災(zāi)難題材電影中,人物成了導(dǎo)演展現(xiàn)意識形態(tài)、敘述故事情節(jié)的主要載體。一般情況下,電影主角具有解救、教化、宣傳的功能。中國災(zāi)難題材電影,多采用由“災(zāi)難發(fā)生——災(zāi)難應(yīng)對——救災(zāi)行動——救災(zāi)成功”等環(huán)節(jié)構(gòu)成的,依據(jù)因果聯(lián)結(jié)成一體的線性敘事結(jié)構(gòu)。中國災(zāi)難題材電影大都采用全知視點(diǎn)這種敘述視角視野廣闊、轉(zhuǎn)換靈活自如,可以滿足觀眾渴望了解一切的愿望。為了突出矛盾,營造緊張氣氛,以彰顯生命的可貴,中國災(zāi)難題材電影往往壓制時(shí)間、縮小空間,讓災(zāi)難和救援在短促的時(shí)間與逼仄的空間內(nèi)發(fā)生沖突。中國人“順其自然”、“聽天由命”的觀念根深蒂固,也缺乏深切的創(chuàng)造力與悲劇精神,使中國災(zāi)難題材電影忙于溫習(xí)已知的災(zāi)難,而無法“制造”或“預(yù)言”未知的困境。現(xiàn)有的中國災(zāi)難題材電影中,“主旋律”電影占絕大多數(shù),除少數(shù)幾位導(dǎo)演之外,中國災(zāi)難題材電影的創(chuàng)作多屬“國家行為”。作為類型片,中國災(zāi)難題材電影吸引觀眾的并不是耐人尋味的劇情變換,也不是制作精良的后期剪輯,而是發(fā)自內(nèi)心的感動和震撼。在好萊塢大片的引進(jìn)加劇了我國電影市場的競爭時(shí),要想改善我國電影發(fā)展局面除了提高技術(shù)條件,加大投資外,還應(yīng)該塑造自己獨(dú)特的文化靈魂。災(zāi)難題材電影借助特技集中展現(xiàn)人倫情懷與天人關(guān)系,既有利于思考中國傳統(tǒng)文化與西方現(xiàn)代文明如何相融互補(bǔ)的問題,也可以提升中國電影的敘事能力。
[Abstract]:In recent years, with the impact of the wave of entertainment and the globalization of the film industry, disaster films have frequently appeared on the film screen. But what can not be ignored is that the Chinese disaster films have been struggling and developed slowly in the political and commercialized gap. From the 1957 wingy director < fog sea night >, by 2002, Zhang Jianya filmed "the polar rescue >," From Feng Xiaoning's "super strong typhoon" in 2008, and by Feng Xiaogang to create a "Tangshan earthquake" in 2010, the Chinese disaster theme film has taken a long and winding road. On the relationship between human and nature, Chinese disaster subject films inherit the idea of traditional harmony between heaven and man, be willing to teach, teach the audience to learn lessons and respect the equality between people and nature. In comparison, Western disaster films are better at reflecting the traditional cultural traditions of the western society. In the relationship between home and country, the individual and the collective, the traditional Confucianists claim that the Chinese disaster theme films are especially like the movies with the disaster relief officers as the main objects. In the relationship between man and me, the traditional Confucianists practice self love and love his thoughts in the way of loyalty and forgiveness. To this day, we tolerate the self rescue of life instinct in the real life, but in public opinion and film art, we are accustomed to the praise of those who have sacrificed themselves from the moral height. In the final analysis, the thought of self love and love and mutual help and mutual assistance is, in the final analysis, from the family state and cultural identity from the development of local consciousness. China's disaster theme films are also often deliberately exaggerated with such feelings and cultures. The disaster theme film provides the indirect disaster experience intentionally or unintentionally, and raises the audience's anxiety consciousness. The disaster experience and the provision and cultivation of the anxiety consciousness also let us see the Chinese disaster films not only sing the traditional sacrifice spirit, but also advocate the value of life and the significance of survival. The characters become the main carrier of the director to display the ideology and the narrative plot. In general, the film protagonist has the function of rescue, enlightenment and propaganda. The Chinese disaster films are composed of "disaster occurrence - disaster response - disaster relief action - disaster relief" and so on. Linear narrative structure. Chinese disaster films mostly use omniscient visual point of view, this narrative perspective is wide, flexible and flexible, can satisfy the desire of the audience to understand everything. In order to highlight the contradictions, create tension, to highlight the value of life, Chinese disaster films often suppress time, reduce space, disaster and rescue. There is a conflict between short time and cramped space. The Chinese people are ingrained in the idea of "taking the nature", "listening to the fate", and lack of deep creativity and tragic spirit, so that the Chinese disaster films are busy with the known disaster, but can not "make" or "predict" the unknown predicament. The existing Chinese disaster problem. In the film, "main theme" film accounts for the vast majority. In addition to a few directors, the creation of Chinese disaster films is mostly "national behavior". As a type of film, Chinese disaster films attract audiences not to be intriguing plot changes, not well made later clips, but from inner feelings and shocks. When the introduction of Hollywood blockbusters intensifies the competition in the film market of China, in order to improve the situation of the development of China's film, in addition to improving the technical conditions and increasing investment, we should also shape its own unique cultural soul. The disaster subject films show the relationship between human feelings and the human nature with the help of special effects, which is beneficial to the thinking of Chinese traditional culture. How to complement each other with modern western civilization can also enhance the narrative ability of Chinese films.
【學(xué)位授予單位】：湖南工業(yè)大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J905

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