發(fā)布時(shí)間：2018-06-05 17:58

  本文選題：底層敘事 + 敘事策略　； 參考：《山東師范大學(xué)》2013年碩士論文

【摘要】：20世紀(jì)90年代以來，隨著改革開放的深入發(fā)展，我國社會(huì)發(fā)展呈現(xiàn)出一系列新的階段性特征。其中之一是，社會(huì)分層的趨勢日益明顯，底層問題也由潛隱狀態(tài)上升至地表。為了能透視底層生活的本相，讓“沉默的大多數(shù)”從正面發(fā)出聲音，隨著電影界對(duì)“底層”現(xiàn)象的關(guān)注，底層敘事開始在電影領(lǐng)域蔚然成風(fēng)。底層敘事映現(xiàn)了社會(huì)文化變遷下底層的惡劣環(huán)境與艱難境遇，形成了以底層人物生存境遇為范疇的敘事機(jī)制。本文試從電影敘事學(xué)角度出發(fā)，旨在對(duì)當(dāng)下中國電影底層敘事的基本策略進(jìn)行梳理和分析。同時(shí)深入研究導(dǎo)演對(duì)影片的情感投射和賦予影片的現(xiàn)實(shí)主義意義，以電影獨(dú)特的敘事表意功能和視覺表達(dá)優(yōu)勢，回歸當(dāng)下現(xiàn)實(shí)中的底層人物和底層生活，，傳達(dá)導(dǎo)演堅(jiān)定而樸素的人文主義關(guān)懷，喚起社會(huì)對(duì)底層的注視。 本文共分為四大部分。第一部分探討底層敘事的概念源起及它的兩種表述模式，闡釋當(dāng)下中國電影底層敘事產(chǎn)生的社會(huì)背景和文化嬗變，從經(jīng)濟(jì)、政治、心理和文化聯(lián)姻等方面進(jìn)行梳理，揭示底層敘事出現(xiàn)和存在的意義。 第二部分著眼于敘事策略的維度，對(duì)電影敘事復(fù)雜表意機(jī)制進(jìn)行拆解，并以此為基礎(chǔ)對(duì)底層影像的敘事內(nèi)容、敘事視點(diǎn)、敘事時(shí)空和敘事結(jié)構(gòu)進(jìn)行探討。結(jié)合具體例證，首先，從敘事學(xué)角度對(duì)影片內(nèi)容進(jìn)行解讀，分析具體文本內(nèi)底層人物的生存與壓力、漂泊與困惑、堅(jiān)守與放棄。其次，對(duì)敘事視點(diǎn)的三種聚焦模式的形式和作用進(jìn)行分析。再次，在敘事時(shí)空方面，從靈活而真實(shí)的時(shí)間秩序和粗糙而虛構(gòu)的空間景觀兩個(gè)部分著手，體現(xiàn)出當(dāng)下中國電影的底層敘事的創(chuàng)新性。最后，在敘事結(jié)構(gòu)上，分別從非情節(jié)式的散文結(jié)構(gòu)和多維寓意的開放結(jié)構(gòu)進(jìn)行分析，發(fā)掘與常規(guī)電影結(jié)構(gòu)不同的結(jié)構(gòu)觀念。 第三部分探討導(dǎo)演在敘事中的創(chuàng)作訴求，從外在審美環(huán)境的追求和內(nèi)在情感立場的投射進(jìn)行深入挖掘和具體論證，突破電影中“唯景觀化”是從的藩籬，以達(dá)到從視覺化向精神化的突圍和回歸。外在審美環(huán)境從都市形象的顛覆和消解，小城生活的縮影和描寫兩個(gè)角度，開啟了底層敘事的審美定位。內(nèi)在情感投射踐行著導(dǎo)演的審美風(fēng)向和情感立場，分為導(dǎo)演情感的個(gè)性投射和共性投射，這兩個(gè)板塊之下又分別從不同的維度進(jìn)行論述，以詮釋導(dǎo)演創(chuàng)作訴求的異同。 第四部分對(duì)當(dāng)下中國電影底層敘事的意義與局限進(jìn)行分析和闡述。首先，在意義言說部分說明底層敘事對(duì)社會(huì)和日后影片的啟示，深入探討底層敘事精神內(nèi)核上貼近社會(huì)心理動(dòng)向的狀態(tài)，為電影中的底層敘事尋找一條適合本土發(fā)展的路徑。其次，現(xiàn)存問題從現(xiàn)實(shí)、審美和市場三個(gè)方面為切入，闡發(fā)底層敘事所面臨的局限和不足，以期對(duì)當(dāng)下中國電影底層敘事研究起到查漏補(bǔ)缺的作用。
[Abstract]:Since the 1990s, with the deepening of the reform and opening up, the social development of our country has shown a series of new characteristics. One of them is that the trend of social stratification is becoming more and more obvious, and the underlying problems are also rising from latent to the surface. As the film circles pay attention to the "bottom" phenomenon, the bottom narrative begins to come into being in the film field. The bottom narration reflects the bad environment and difficult circumstances under the social and cultural changes, and forms a narrative mechanism with the subsistence situation of the bottom characters. This paper tries to start from the angle of film narration, aiming at the current Chinese film. The basic strategies of the bottom narrative are combed and analyzed. At the same time, the author deeply studies the director's emotional projection of the film and the realistic significance of giving the film, with the unique narrative ideographic function and visual expression advantage of the film, returning to the bottom people and the bottom life in the present reality, and calling the director's firm and simple humanistic care to arouse the director. A social look at the bottom.
This article is divided into four parts. The first part discusses the origin of the concept of the bottom narrative and its two modes of expression, explaining the social background and cultural evolution of the bottom narrative of the Chinese film, and combing the economic, political, psychological and cultural marriages to reveal the significance of the appearance and existence of the bottom narrative.
The second part, focusing on the dimension of narrative strategy, dismantling the complex ideographic mechanism of the film narrative, and on the basis of this, discusses the narrative content, the narrative view, the narrative time and space and the narrative structure of the underlying image. Survival and pressure, drifting and perplexity, persevering and giving up. Secondly, the form and function of the three focusing modes of the narrative viewpoint are analyzed. Again, in the narrative time and space, from the flexible and real time order and the rough and fictitious space landscape two parts, it embodies the innovation of the bottom narrative of the current Chinese film. Finally, From the perspective of narrative structure, it analyzes the open structure of non plot prose and multidimensional implication, and explores the structural concepts different from the conventional movie structure.
The third part explores the creative demands of the director in the narrative, excavates and concretely from the pursuit of the external aesthetic environment and the projection of the inner emotional position, and breaks through the barriers of "landscape only" in the film, so as to achieve the breakthrough and return from the vision to the spirit. The external aesthetic environment subverts and dispels the urban image, The epitome and description of the life of the small city two angles, open the aesthetic orientation of the bottom story. The inner emotion projection and the director's aesthetic direction and emotional position are divided into the individual projection and the common projection of the director's emotion, and the two plates are respectively discussed from different dimensions to explain the similarities and differences of the director's creative appeal.
The fourth part analyzes and expounds the significance and limitations of the bottom narrative in the current Chinese film. First, it explains the Enlightenment of the bottom narrative to the society and the film in the future, and explores the state of the social psychological trend in the core of the bottom narrative, and seeks a suitable local development for the bottom narrative in the film. Secondly, the existing problems, from three aspects of reality, aesthetics and market, elucidate the limitations and shortcomings of the underlying narrative, in order to find out the role of missing and missing the bottom narrative research in the present Chinese film.
【學(xué)位授予單位】：山東師范大學(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)：1982922