本文選題：曹保平 + 隱性敘事　； 參考：《河南大學》2017年碩士論文

【摘要】：曹保平的作品大都含有多元化的人物設置、激烈的情感沖突和輕快的敘事節(jié)奏,在有限的時間內(nèi),將故事內(nèi)容合理的整合在敘事空間中,并通過對人、事的挖掘和重組,詮釋出新的主題和意義。在兼顧市場商業(yè)化的同時,曹保平又賦予了影片很深的藝術魅力,傳達出了一種強烈的“態(tài)度和情感”。曹氏電影既存在于已有的影院商業(yè)體系內(nèi),又和主流商業(yè)電影的類型、樣式有著明顯的區(qū)別,融入了非常個人化的藝術、情感和態(tài)度。本選題是對曹保平電影隱性敘事的研究,包括對影片的解讀、以及導演用何種方式建構(gòu)這種敘事方式,并探尋隱性敘事下的故事情節(jié)的演變。在沖突與張力的主基調(diào)下,透露的是導演曹保平對人性的洞察和思考,這是對人物設置和情感沖突交織下人性深處情感的外在體現(xiàn),是對社會萬象的關注與考量,是導演自身對選材、角色、場景的高標準、嚴要求的表現(xiàn)。相對于大眾文化下的快餐消費,曹保平并沒有丟棄影片的藝術魅力。在創(chuàng)作的同時,他運用多種方式增加影視作品的厚重感、可看性和神秘性,其中之一就是“隱性敘事”的運用。他以人物角色及情感沖突來增加故事的“隱性”意義,使得作品主題上升到了一個新的高度�！半[性”成為他影片中不可缺少的一種元素,尤其是直觀的敏感題材中,這種“隱性”的敘事方式更能達到一種折中的效果,在商業(yè)化、大眾化的浪潮中獨樹一幟。本文共分為五個部分,第一部分為曹氏電影與隱性敘事的概述,對于曹保平個人經(jīng)歷、創(chuàng)作理念有一個整體的把握,同時,梳理隱性敘事的認知演變,并總結(jié)歸納隱性敘事的特征,再次從整體上把握曹保平電影的隱性呈現(xiàn)。第二部分將以曹保平電影的代表作品為例,從隱性敘事的主題、隱性敘事的結(jié)構(gòu)以及隱性敘事的人物塑造等幾個方面來分析影片中隱性敘事的呈現(xiàn)形式。第三部分為曹保平電影中通過隱性敘事所體現(xiàn)的社會映像,通過其作品表達了作為導演的曹保平對社會話題、社會群體的關注和思考。第四部分為電影在隱性追尋過程中的一些思考,以及隱性敘事所遵循的適度原則。第五部分為結(jié)語,再次從整體上把握曹保平電影的隱性意義,并體會其在電影制作過程中對商業(yè)與藝術的平衡,以及對所承擔社會責任感的積極認可。曹保平導演對電影創(chuàng)作有著極高的熱情,同時,他擅長把自己對社會文化現(xiàn)象的觀點和看法融入到典型的人物角色、群體類型中去,以隱性敘事透過影片表達他對這個社會的強烈責任感。隱性敘事是隱藏在顯性情節(jié)之下的,與顯性情節(jié)的發(fā)展是相互而生的,兩者所形成的關系是一種補充性或顛覆性的,同時,隱性敘事有利于懸念設置,便于制造緊張、神秘的氣氛。除了與影片主題相關的情節(jié)外,隱性敘事還能在一定程度上體現(xiàn)以直觀方式難以表達的社會問題。文章通過隱性敘事主題、隱性敘事的結(jié)構(gòu)、隱性人物塑造以及隱性敘事過程中的追尋與思考等幾個方面,對曹保平電影進行解讀,向人們展示了隱性敘事在電影中的可取之處,同時對現(xiàn)代電影制作提供一己之力。
[Abstract]:Most of Cao Baoping's works contain diversified character settings, intense emotional conflict and brisk narrative rhythm. In a limited period of time, the content of the story is integrated into the narrative space, and new themes and meanings are interpreted through the excavation and reorganization of people and things. While taking into account the commercialization of the market, Cao Baoping has given a shadow. The deep artistic charm of the film conveys a strong "attitude and emotion". Cao's films exist both in the commercial system of the cinema, and are distinctly different from the types and styles of the mainstream commercial films, and are integrated into the very personal art, emotion and attitude. This topic is a study of the recessive narrative of Cao Baoping's films, including the study of the recessive narrative. The interpretation of the film, as well as the way the director constructs this narrative way, and exploring the evolution of the storyline under the recessive narrative. Under the main tone of the conflict and tension, it reveals the insight and thinking of director Cao Baoping on human nature, which is the external embodiment of the deep emotion of human nature interwoven with the character setting and the emotional conflict, and is the society to the society. At the same time, Cao Baoping has not discarded the artistic charm of the film. At the same time, he uses a variety of ways to increase the heavy sense of film and television works, and one of them is "visible and mysterious". Using the recessive narrative, he added the "recessive" meaning of the story with the character role and the emotional conflict, which made the theme of the work up to a new height. "Recessive" has become an indispensable element in his film, especially in the intuitive and sensitive subject, this "implicit" narrative way can achieve a compromise effect. This article is divided into five parts in the tide of commercialization and popularization. This article is divided into five parts. The first part is the outline of Cao's film and recessive narration. It has a holistic grasp of Cao Baoping's personal experiences and creative ideas. At the same time, it combs the cognitive evolution of recessive narrative and summarizes the characteristics of recessive narrative. The recessive presentation of Cao Baoping's film. The second part will take the representative works of Cao Baoping's film as an example, from the theme of recessive narrative, the structure of recessive narrative and the portrayal of the recessive narrative in the film. The third part is the social reflection of the recessive narrative in Cao Baoping's film. Like, through his works, it expresses the attention and thinking of Cao Baoping to the social topic and the social group as the director. The fourth part is the thinking of the film in the process of recessive pursuit, and the moderate principle that the recessive narrative follows. The fifth part is the conclusion, again, to grasp the recessive meaning of Cao Baoping film from the whole, and experience it in the electricity. The balance between commerce and art and the positive recognition of the sense of social responsibility in the process of shadow production. Director Cao Baoping has a great enthusiasm for film creation. At the same time, he is good at integrating his views and views of social and cultural phenomena into the typical character role, in the group type, and by recessive narrative to express him through the film. The strong sense of responsibility for this society. Hidden narration is hidden under the explicit plot, and the development of the dominant plot is mutual and born. The relationship between the two is complementary or subversive, while the recessive narrative is beneficial to the suspense setting and makes it easy to make the tense and mysterious atmosphere. Besides the plot related to the film, The recessive narrative can also reflect the social problems which are difficult to express in a certain way. Through the recessive narrative theme, the structure of the recessive narrative, the recessive character molding and the pursuit and thinking in the recessive narrative, the author unscramble the Cao Baoping film and show the desirability of the recessive narrative in the film. It also provides some support for modern film production.
【學位授予單位】：河南大學
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J911

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