本文選題：李玉 + 紀(jì)實(shí)風(fēng)格　； 參考：《西南大學(xué)》2014年碩士論文

【摘要】：2012年是李玉從事電影創(chuàng)作以來(lái)的新的高峰,成為文藝片商業(yè)化的成功范本。其上映的作品《二次曝光》成功地從當(dāng)年的國(guó)慶檔脫穎而出,打破了“談文變色”的窘境。從2001年電影處女作《今年夏天》的誕生到2012年推出的新作《二次曝光》,雖然只有五部作品,但每一部作品都有新的突破。李玉的電影創(chuàng)作之路也逐漸從早期的以低成本小制作和非職業(yè)演員為主角的藝術(shù)電影過(guò)渡到明星陣容、制作成本加大和諸多商業(yè)元素的市場(chǎng)運(yùn)作上。沒(méi)有經(jīng)過(guò)電影專(zhuān)業(yè)訓(xùn)練的李玉,善于關(guān)注與發(fā)現(xiàn)現(xiàn)實(shí)社會(huì)中女性生存與成長(zhǎng)的困境,憑借著對(duì)電影創(chuàng)作的一腔熱情,經(jīng)歷數(shù)十年的打磨,從最初的游離于體制之外,漸漸的被世人所熟知,影片的知名度逐漸升高。在市場(chǎng)化的大背景下,李玉的創(chuàng)作之路曲折而坎坷,但她始終不放棄對(duì)個(gè)人風(fēng)格的抒寫(xiě)。如今,這位年輕的女導(dǎo)演成為眾多研究者關(guān)注的焦點(diǎn)。 本文主要以李玉電影創(chuàng)作的產(chǎn)業(yè)語(yǔ)境為背景,通過(guò)對(duì)其身處的社會(huì)文化環(huán)境的探究,以及這一時(shí)期中國(guó)電影產(chǎn)業(yè)發(fā)展的軌跡的梳理,探究李玉電影的時(shí)代文化屬性。進(jìn)一步分析李玉的電影作品,女性現(xiàn)實(shí)生存、女性成長(zhǎng)以及女性的病態(tài)心理等為主題,體現(xiàn)了李玉長(zhǎng)期以來(lái)對(duì)于女性命運(yùn)的關(guān)照,以及個(gè)人獨(dú)特女性情懷的抒發(fā)。以對(duì)李玉的五部作品深入分析為基礎(chǔ),從題材上、敘事形式與手段應(yīng)用以及作者性與商業(yè)性等方面的梳理與分析,總結(jié)其電影作品的紀(jì)實(shí)風(fēng)格獨(dú)特的表達(dá)形態(tài),并以電影《二次曝光》為例,進(jìn)一步論證其紀(jì)實(shí)風(fēng)格的獨(dú)特性。李玉在經(jīng)歷了審查制度的重重考驗(yàn)下,在個(gè)性表達(dá)與商業(yè)性上度之間找到平衡。李玉在藝術(shù)性與商業(yè)性上成功,對(duì)于所有導(dǎo)演來(lái)說(shuō)都是重要的啟示。
[Abstract]:The year 2012 was a new peak since Li Yu engaged in film creation, and became a successful model for the commercialization of literary and artistic films. His second exposure successfully broke the dilemma of "talking about the changes in color" by standing out from the National Day archives of that year. From the birth of the first film this summer in 2001 to the second exposure in 2012, although there are only five works, each one has a new breakthrough. Li Yu's way of film creation has also gradually changed from the early art film with low cost and non-professional actors as the main character to the star lineup, increasing production cost and the market operation of many commercial elements. Li Yu, who has no film professional training, is good at paying attention to and discovering the plight of women's survival and growth in real society. With a passion for film creation, Li Yu has gone through decades of grinding, from the initial free from the system. Gradually known to the world, the film's popularity gradually increased. In the background of marketization, Li Yu's writing road is tortuous and bumpy, but she never gives up her personal style. Today, the young female director has become the focus of attention of many researchers. This article mainly takes the industrial context of Li Yu's film creation as the background, through the exploration of the social and cultural environment in which Li Yu is in, and combs the track of the development of the Chinese film industry in this period, probes into the cultural attribute of the era of Li Yu's film. Further analysis of Li Yu's film works, the existence of women, the growth of women and the sick psychology of women are the themes, which reflects Li Yu's long-term concern for the fate of women and the expression of her own unique female feelings. Based on the in-depth analysis of Li Yu's five works, this paper summarizes the unique expression of the documentary style of Li Yu's film works from the aspects of subject matter, narrative form and means application, author sex and commercial etc. And take the film second exposure as an example to further demonstrate the uniqueness of its documentary style. Li Yu found a balance between personality expression and commercial uppermost under the test of censorship system. Li Yu's artistic and commercial success is an important inspiration for all directors.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J905

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