本文選題：賈樟柯 + 底層關(guān)懷��； 參考：《西南大學(xué)》2014年碩士論文

【摘要】：賈樟柯作為中國新生代導(dǎo)演的中堅(jiān)人物,他與“第五代”前輩不同,始終堅(jiān)持自己對底層的關(guān)懷。戴錦華曾說賈樟柯是“中國最后一位電影人”,他用自己獨(dú)特的方法,為我們記錄下了各種各樣的底層人物。 第一章首先就賈樟柯的家庭生活背景對他電影創(chuàng)作的影響。在此,文章主要選取了對于賈樟柯電影創(chuàng)作有極其重要影響的幾個背景,至于其它詳細(xì)的背景,限于文章篇幅在此不作贅述。其次,這樣一個人會有一個怎樣的極具個人風(fēng)格的電影創(chuàng)作世界。這一節(jié)內(nèi)容分成三點(diǎn)具體論述了一下賈樟柯電影最重要的特征,長鏡頭、攝影對象的本色化和紀(jì)實(shí)是他的武器。 第二章正式進(jìn)入賈樟柯的電影世界。這一章共論述了三部賈樟柯的電影,也是他前期最重要的三個作品,被稱為“故鄉(xiāng)三部曲”,是賈樟柯對于自己記憶中在汾陽生活底層形象的記錄。第一部電影《站臺》為我們講述上世紀(jì)八十年代一群縣城文工團(tuán)演員的悲歡人生。他們自認(rèn)為是社會的精英,但在那個劇變的時代,他們還是迷失了自己。第二部電影《小武》帶我們進(jìn)入了一個鮮為人知的行業(yè)——扒手,然而這個為所人痛恨的小偷卻有著不同尋常的情感生活。雖然他一無所有但卻非常珍惜感情,可結(jié)局是朋友、愛人和親人相繼拋棄了他。小武無法適應(yīng)社會劇變之下人情的變幻,最終走進(jìn)監(jiān)獄。第三部電影《任逍遙》的主角是兩個叛逆的少年和一個姑娘,他們都不滿意自己現(xiàn)實(shí)的生活,想要逃脫困境,但這一切只能是妄想。 第三章先講賈樟柯在拍完《世界》后的轉(zhuǎn)變,首先是他的視角更為廣闊,他不再局限于記憶中的家鄉(xiāng),而是將目光投向了繁華都市中的邊緣人和三峽移民等。這讓他的電影有了更為豐富的社會文化意義,也導(dǎo)致了他攝影風(fēng)格、畫面處理的一些改變,但是他的底層關(guān)懷仍然延續(xù),這是賈樟柯電影非常重要的一種堅(jiān)持。后面又對他轉(zhuǎn)變后的兩部代表作《世界》和《三峽好人》中的底層——“北漂”和移民的真實(shí)生存狀態(tài)做了詳細(xì)的論述。這在文中有具體的解釋。 文章通過對賈樟柯底層形象的論述嘗試圖解賈樟柯在創(chuàng)作過程中最重要的特征——底層關(guān)懷。
[Abstract]:Jia Zhangke, as the backbone of the new generation of Chinese directors, is different from the "fifth generation", and always insists on his concern for the bottom. Dai Jinhua once said Jia Zhangke was "the last Chinese filmmaker" and used his own unique method to record all kinds of underworld characters for us. The first chapter is about the influence of Jia Zhangke's family life background on his film creation. Here, the article mainly selected for Jia Zhangke film creation has the extremely important influence several background, as for the other detailed background, limits the article space in here does not do the elaboration. Second, such a person would have a very personal style of film creation world. This section is divided into three parts: the most important features of Jia Zhangke's films are the long lens, the authenticity and the reality of the subjects. The second chapter formally enters Jia Zhangke's film world. This chapter discusses three films of Jia Zhangke, which are also the most important works in his early period, and are called "hometown trilogy", which is Jia Zhangke's record of the bottom image of life in Fenyang in his memory. The first film, platform, tells us about the sorrowful life of a group of artists in the county town in the 1980's. They thought they were the elite of society, but they lost themselves in that time of upheaval. The second movie, Xiao Wu, takes us into a little-known industry, pickpockets, but this hated thief has an unusual emotional life. Although he has nothing, but very cherish feelings, but the outcome is friends, lovers and relatives have abandoned him. Xiao Wu can not adapt to the social upheaval under the change of human feelings, eventually into the prison. The protagonist of the third film, "Ren Xiaoyao", is two rebellious teenagers and a girl. They are not satisfied with their real life and want to escape the predicament, but all this can only be delusional. The third chapter first talks about Jia Zhangke's transformation after he finished filming "World", first of all, he has a broader perspective. He is no longer confined to his hometown in memory, but has turned his eyes to the marginal people in the bustling city and the immigrants from the three Gorges, and so on. This makes his films have more social and cultural significance, and also leads to some changes in his photography style and image processing, but his bottom care continues, which is a very important insistence of Jia Zhangke's films. After that, the author discusses in detail his two masterpieces, the World and the bottom of "Beijing drifters" and the real living state of the immigrants in "the World" and "the good people of the three Gorges". This is explained in detail in the article. This paper tries to illustrate Jia Zhangke's bottom image by illustrating the most important feature of Jia Zhangke's creation-the bottom care.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J905

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