本文選題：題材 + 敘事　； 參考：《西南大學(xué)》2013年碩士論文

【摘要】：劉鎮(zhèn)偉是香港電影界中不可多得的創(chuàng)意人才,在“神經(jīng)刀”的面具之下,凝聚的是他對(duì)電影的熱情、赤誠(chéng)以及與生俱來(lái)的熟悉感。他以鬼怪片開啟自己的導(dǎo)演之門,以愛情貫穿大部分故事,最后以科幻來(lái)釋放自己的想象力,在眾多看似不著痕跡、一氣呵成的影片里,實(shí)則是他對(duì)各種反映香港社會(huì)現(xiàn)實(shí)的題材的熟練把握、對(duì)鏡頭語(yǔ)言的熟練運(yùn)用以及對(duì)各種敘事技巧的熟練掌握。劉鎮(zhèn)偉以一種另類解構(gòu)的方式將香港的傳統(tǒng)文化、港人的“九七情結(jié)”、港人復(fù)雜的意識(shí)形態(tài)雜糅于一體,鍛造出一幕幕經(jīng)典而又悲喜交加的熒幕故事、一段段精辟又發(fā)人深思的語(yǔ)錄。在商業(yè)氣息濃厚的創(chuàng)作環(huán)境中,他依然保持一顆純真浪漫的心,用一部又 一部飽含了他創(chuàng)作理念的高票房電影,為香港電影票房成績(jī)添磚加瓦。同時(shí),劉鎮(zhèn)偉在他電影中所體現(xiàn)出的繁復(fù)精準(zhǔn)的場(chǎng)面調(diào)度、人物造型的獨(dú)特想象、綿密緊湊的喜劇包袱、以及手到擒來(lái)的拍攝手法,都成為了展現(xiàn)他個(gè)人風(fēng)格的重要因素。 本文將運(yùn)用互文理論、類型電影理論和角色理論,結(jié)合劉鎮(zhèn)偉的導(dǎo)演作品展開論述,文章主要分為三章,(一)劉鎮(zhèn)偉電影題材的選擇、(二)劉鎮(zhèn)偉電影中的敘事手法、(三)劉鎮(zhèn)偉電影中的角色分析。以此三個(gè)角度來(lái)分析劉鎮(zhèn)偉的導(dǎo)演作品。
[Abstract]:Under the mask of "nerve knife", Liu Zhenwei is a rare creative talent in Hong Kong film industry. Under the mask of "nerve knife", he embodies his passion for film, sincerity and innate familiarity. He opened the door to his own director with ghost films, ran through most stories with love, and finally unleashed his imagination with science fiction, in many films that seemed to have no trace, and that came into being in one go. In fact, he is proficient in various subjects reflecting the reality of Hong Kong society, in the use of lens language and in various narrative techniques. Liu Zhenwei combined Hong Kong's traditional culture, the "1997 complex" of the people of Hong Kong and the complex ideology of Hong Kong people in a different way to forge a classic and sad screen story. A penetrating and thought-provoking quotation. In the business atmosphere, he still maintains a pure romantic heart, with one high box office film full of his creative ideas, for the Hong Kong film box office results. At the same time, Liu Zhenwei showed in his films the complicated and accurate scene scheduling, the unique imagination of the characters, the dense and compact comedy burden, and the skill of shooting from hand to hand. This article will use intertextuality theory, genre film theory and role theory, combined with Liu Zhenwei's director's works. The article is divided into three chapters: (1) the choice of Liu Zhenwei's film theme (2) the narrative technique in Liu Zhenwei's film (3) the character analysis in Liu Zhenwei's film. This three angles to analyze the director of Liu Zhenwei works.
【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】：2013
【分類號(hào)】：J905

【參考文獻(xiàn)】

相關(guān)期刊論文 前8條

1 李曉慧;;《天下無(wú)雙》中的后現(xiàn)代語(yǔ)言[J];電影評(píng)介;2008年16期

2 韓曉蕾;;互文帶來(lái)的新生意蘊(yùn)——以劉鎮(zhèn)偉的幾部電影為例[J];電影評(píng)介;2011年20期

3 李雪;;《情癲大圣》:十年磨一劍 此情已惘然[J];電影新作;2006年01期

4 劉鎮(zhèn)偉;張燕;;劉鎮(zhèn)偉:香港電影的“神經(jīng)刀”[J];電影藝術(shù);2006年02期

5 尹康莊;王文捷;;“無(wú)厘頭”敘事論[J];廣東社會(huì)科學(xué);2009年05期

6 王子文;關(guān)于等待——《天下無(wú)雙》的詮釋[J];電影評(píng)介;2002年04期

7 胡翦;《天下無(wú)雙》——無(wú)厘頭喜劇的終結(jié)者?[J];電影評(píng)介;2002年05期

8 李磊;;論電影《越光寶盒》的后現(xiàn)代元素[J];雞西大學(xué)學(xué)報(bào);2011年11期

，

本文編號(hào)：1993564