本文選題：作者電影 + 母題��； 參考：《山西大學(xué)》2013年碩士論文

【摘要】：二十世紀八九十年代的香港華語電影圈誕生了許多優(yōu)秀的電影導(dǎo)演和電影作品,其中,王家衛(wèi)導(dǎo)演以其獨樹一幟的電影風(fēng)格成為當(dāng)中最引人注目的電影“作者”之一。從1988年首次執(zhí)導(dǎo)的《旺角卡門》到2013年的《一代宗師》,王家衛(wèi)已有十一部影片問世,這些影片榮獲了香港電影金像獎、臺灣電影金馬獎、戛納電影節(jié)最佳導(dǎo)演獎等多個重要獎項,并得到國際影壇的一致肯定。尤其伴隨著2013年開年大戲《一代宗師》的全面熱映,在觀眾和電影評論界又掀起了一陣“王家衛(wèi)電影熱”,可見王家衛(wèi)電影值得我們認真地研究。王家衛(wèi)的電影堪稱作者電影,這不僅因為他的每一部作品都是自編自導(dǎo)的,更是因為他的電影有一套屬于自己的個性化的電影體系,能夠完整地體現(xiàn)導(dǎo)演獨特的藝術(shù)風(fēng)格。本論文將王家衛(wèi)放于香港電影的大環(huán)境下去考慮他的電影作者身份,并對王家衛(wèi)的電影展開梳理,通過編導(dǎo)合-式的創(chuàng)作為研究起點,力圖對王家衛(wèi)深邃的電影母題、極具個人特色的敘事特征和詩意般的視聽語言進行分析,探析其作為電影“作者”獨特的電影藝術(shù)風(fēng)格,走進電影“作者”獨特的電影藝術(shù)世界。 本論文主要從以下幾個方面展開論述：第一部分,從論文的選題背景與意義著手,分析現(xiàn)有的研究現(xiàn)狀。第二部分,將王家衛(wèi)放于香港電影的背景下,研究其電影產(chǎn)生的時代、文化和社會背景,并分析王家衛(wèi)電影符合作者電影的標準,具有“作者”獨特氣質(zhì)。第三部分對王家衛(wèi)電影所呈現(xiàn)的一脈相承母題進行深層詮釋。第四部分統(tǒng)觀王家衛(wèi)所有影片,從互文性的情節(jié)、趨同性的角色、貫穿性的鏡頭和相似性的敘事時空來著手,歸納總結(jié)王家衛(wèi)電影獨具特色的敘事特征。第五部分通過對王家衛(wèi)電影視聽語言的研究,歸納總結(jié)其電影帶給人們畫面、色彩、獨白、音樂的視聽感受。王家衛(wèi)憑借對都市生活獨特的生命體驗、個性化的表述方式和風(fēng)格化的視聽影像成功地構(gòu)建了一種獨特的“王家衛(wèi)式”的電影風(fēng)格。這種獨特的風(fēng)格正是電影“作者”的精神體現(xiàn),值得我們深入研究。
[Abstract]:In the 1980s and 1990s, Hong Kong Chinese film circle produced many excellent film directors and films. Among them, Wang Jiawei director became one of the most attractive film "authors" with his unique film style. From "Mongkok Carmen," which was first directed in 1988, to "the Grandmaster," in 2013, Wang Jiawei has produced 11 films. These films have won the Hong Kong Film Awards and the Taiwan Film Golden Horse Awards. Cannes Film Festival for best director award and other important awards, and the international film industry unanimously affirmed. Especially with the full popularity of the Chinese New year drama "Master of the Generation" in 2013, there is another "Wang Jiawei Film craze" in the audience and film critics. It is obvious that the Wang Jiawei films are worthy of our careful study. Wang Jiawei's film can be called the author's film, not only because every work is self-directed, but also because his film has its own personalized film system, which can fully reflect the unique artistic style of the director. In this thesis, Wang Jiawei is put into the Hong Kong film environment to consider his identity as the author of the film, and Wang Jiawei's film is combed out, and through the authoring and co-production as the research starting point, the author tries hard to study the profound motif of Wang Jiawei. This paper analyzes the narrative characteristics and poetic audio-visual language with individual characteristics, analyzes its unique film art style as "author", and enters the unique film art world of "author". This paper mainly discusses from the following aspects: the first part, from the background and significance of the thesis, analysis of the existing research status. In the second part, the author puts Wang Jiawei in the background of Hong Kong film, studies the era, culture and social background of the film, and analyzes that the Wang Jiawei film accords with the standard of the author's film and has the unique temperament of "author". The third part is the deep interpretation of the theme of Wang Jiawei film. In the fourth part, from intertextuality of plot, the role of convergence, the penetrating lens and the similar narrative time and space, the author summarizes the unique narrative characteristics of Wang Jiawei films. The fifth part summarizes the audiovisual feeling of Wang Jiawei film through the study of its audio-visual language, which brings people pictures, colors, monologues and music. Wang Jiawei has successfully constructed a unique "Wang Jiawei" film style by means of the unique life experience, individualized expression and stylized audio-visual images of urban life. This unique style is the spirit of the movie "author", worthy of our in-depth study.
【學(xué)位授予單位】：山西大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J911

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