本文選題：類型學(xué) + 賀歲片�。� 參考：《曲阜師范大學(xué)》2013年碩士論文

【摘要】：賀歲片，作為中國電影市場(chǎng)一支重要的分支，自從大陸第一部賀歲片《甲方乙方》后，至今已走過了十幾年的路程。從第一部賀歲電影的一枝獨(dú)秀到現(xiàn)在賀歲檔期賀歲電影的百花齊放，賀歲片的發(fā)展用日新月異形容似乎也不為過。但是，由于急速發(fā)展，賀歲片在發(fā)展過程中產(chǎn)生了很多問題，遇到了很多波折，其中，對(duì)于賀歲片的爭議在學(xué)術(shù)界和理論界也一直沒有停頓，爭議最大的依然是賀歲片的概念，究其本質(zhì)就是關(guān)于賀歲片“類型說”和“檔期說”的區(qū)別，即賀歲片到底是“喜劇類型片”還是在“賀歲檔期下放映的所有影片”。在本文，筆者試圖在類型學(xué)說的視角下對(duì)中國大陸賀歲片進(jìn)行探索，希望能從無論是喜劇類型賀歲片還是以賀歲名義上映的其他類型賀歲片中對(duì)中國大陸賀歲市場(chǎng)有一個(gè)更加全面的認(rèn)識(shí)。 本文致力于以中國大陸賀歲片發(fā)展十幾年以來的賀歲片為主要研究資料，在汲取前人研究成果的基礎(chǔ)上結(jié)合歸納、總結(jié)的研究方法，以類型學(xué)視角及電影類型理論依據(jù)對(duì)中國大陸十幾年來的賀歲片進(jìn)行了詳細(xì)的分析和梳理，希望為中國大陸賀歲電影的發(fā)展貢獻(xiàn)一點(diǎn)微薄之力。從中國大陸賀歲片概述和類型學(xué)理論、馮小剛為代表的喜劇類型賀歲片、賀歲檔期下的其他類型賀歲片為主要內(nèi)容進(jìn)行系統(tǒng)的論述。文章共分為四部分：第一部分以中國大陸賀歲片的發(fā)展歷程為支點(diǎn)，全面總結(jié)中國大陸賀歲片的發(fā)展過程 和類型變化，指出中國大陸賀歲片的發(fā)展從萌芽期、發(fā)展期到現(xiàn)在的的成熟期及各個(gè)時(shí)期的類型特點(diǎn)，并結(jié)合類型學(xué)及電影類型理論對(duì)賀歲片進(jìn)行梳理；第二部分通過以馮小剛為代表的喜劇類型賀歲片對(duì)喜劇類型賀歲片進(jìn)行探析，從喜劇的娛樂本質(zhì)和賀歲文化出發(fā)，得出喜劇類型片是最切合中國傳統(tǒng)賀歲文化的賀歲片類型；第三部分在“檔期說”的支持下，研究中國大陸賀歲市場(chǎng)從賀歲片到賀歲檔的轉(zhuǎn)變及賀歲片類型的變化，并從這些變化中分析中國大陸賀歲市場(chǎng)的困境及出路；最后，文章從中國傳統(tǒng)的賀歲文化心理和受眾的需求進(jìn)行總結(jié)，喜劇類型片一直是最受歡迎的賀歲片，但是隨著時(shí)代的發(fā)展和人民文化素質(zhì)的提高，其他類型賀歲片的產(chǎn)生也是必然趨勢(shì)，，需要冷靜看待這一變化。文章從類型學(xué)的角度對(duì)中國大陸的賀歲電影進(jìn)行整體分析和歸納，對(duì)各種類型賀歲片 進(jìn)行全面把握，力求站在全局的角度全面客觀看待中國大陸賀歲電影，既不能被賀歲片的表面繁榮沖昏頭腦，也不能被現(xiàn)在出現(xiàn)的各種問題所嚇倒，中國大陸的賀歲電影亟待更好的發(fā)展措施對(duì)其保駕護(hù)航。
[Abstract]:As an important branch of Chinese film market, Chinese New year Film has gone through more than ten years since the first Chinese New year film, Party A Party B. From the first Chinese New year movie alone to the present Chinese New year season New year movie blooming, the development of the New year film seems to be changing with each passing day can not be described too. However, due to the rapid development of New year films, there have been many problems in the development process and encountered many twists and turns. Among them, the controversy over New year films has never stopped in the academic and theoretical circles. The most controversial issue is still the concept of New year's films. The essence of the film is about the difference between "type theory" and "grade theory", that is, whether the new year's film is a comedy type film or all the films shown under the new year's holiday season. In this paper, the author tries to explore the Chinese mainland New year films from the perspective of type theory. We hope to have a more comprehensive understanding of the Chinese mainland's New year's Day market from comedy and other types of New year's Festivals released in the name of New year's Day. This paper is devoted to taking the Chinese New year films developed for more than ten years as the main research materials, combined with the research methods summarized on the basis of drawing on the previous research results. From the perspective of typology and the theory of film types, this paper makes a detailed analysis and combing of the Chinese New year films in the past ten years, hoping to contribute a little bit to the development of the New year movies in mainland China. From the outline and typology theory of New year's Film in mainland China, the main contents of this paper are as follows: Feng Xiaogang is the representative comedy type of New year's Day, and other types of New year's Film under New year's Day are the main contents of this paper. The article is divided into four parts: the first part, based on the development of the Chinese mainland New year film as the fulcrum, summarizes the development process of the Chinese mainland New year film in an all-round way. It points out that the development of Chinese New year films from the budding stage, the development period to the present maturity period and the type characteristics of each period, and combined with typology and film type theory to sort out the New year films; The second part through the Feng Xiaogang as the representative of the new year comedy type of comedy New year film analysis, from the comedy entertainment nature and New year culture, the comedy type film is the most suitable for the traditional Chinese New year culture New year film type; The third part, with the support of "the theory of the period of time", studies the change of the Chinese New year market from New year's Day to New year's Files and the change of the new year's film type, and analyzes the predicament and outlet of the Chinese mainland's New year's Day Market from these changes. Based on the traditional Chinese New year culture psychology and the needs of the audience, comedy films have been the most popular New year movies, but with the development of the times and the improvement of the people's cultural quality, The emergence of other types of New year films is also an inevitable trend, need to calm down this change. From the perspective of typology, this paper makes a comprehensive analysis and induction of the New year movies in mainland China, and makes a comprehensive analysis of the various types of New year movies. To have a comprehensive grasp and to make every effort to take a comprehensive and objective view of Chinese New year films from a comprehensive and objective perspective can neither be intimidated by the apparent prosperity of the New year films, nor can they be intimidated by the various problems that are now appearing. Chinese mainland New year movies need better development measures to protect them.
【學(xué)位授予單位】：曲阜師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J905

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本文編號(hào)：1933526