本文選題：王小帥電影 + 男性形象��； 參考：《上海師范大學(xué)》2013年碩士論文

【摘要】：中國電影中的男性形象，許許多多、形形色色。在以王小帥等人的作品為代表的第六代導(dǎo)演作品中，我們可以看到性格更加復(fù)雜、生活氣息更加濃郁的人物形象。王小帥是第六代電影導(dǎo)演中影像風(fēng)格較為成熟的代表,他自電影學(xué)院畢業(yè)以來，每隔兩三年推出一部影片。迄今為止，其導(dǎo)演的劇情長片共有10部。每一部都給人少年老成、思想深邃的感覺，他塑造的男性形象都帶有濃厚的自身特色。 本文分四章對王小帥電影中的男性形象做了分析和概括，并試圖從中總結(jié)提煉出王小帥在男性形象設(shè)置上的一些導(dǎo)演意圖及文化內(nèi)涵。第一章緒論部分，首先介紹了王小帥的從影經(jīng)歷及其劇情長片的獲獎情況；其次簡要介紹了90年代初的電影語境，分析了王小帥走上“地下”制片道路的原因。最后介紹了目前對王小帥電影研究的一些論述，說明了王小帥電影中男性形象的研究意義；第二章重點(diǎn)論述了王小帥電影中的各種男性形象，并且將其分成父親形象、反叛藝術(shù)家形象、城市邊緣人形象和青春形象。從男性形象的角度講，王小帥除了《冬春的日子》和《極度寒冷》塑造了疏離式的人物形象之外，其他電影中的男性形象都有紀(jì)實(shí)特性，比如《二弟》、《十七歲的單車》、《左右》中的男性形象，都是在生活中清晰可見、并不是那種具有濃重歐洲式疏離氣質(zhì)的男性形象。較之婁燁《蘇州河》、《頤和園》、《春風(fēng)沉醉的晚上》中的男性形象，王小帥電影中的男性形象普遍都寡言少語，但具體可感、樸實(shí)動人。他通過這些男性形象地塑造凸顯了在工業(yè)化、全球化語境下對于社會轉(zhuǎn)型中底層人物命運(yùn)的關(guān)照。第三章以王小帥電影影像文本為例，從影像細(xì)節(jié)、鏡頭調(diào)度、光影構(gòu)圖各方面，分析其電影中的各種男性形象地影像塑造手法。第四章對其電影中男性形象的特點(diǎn)和意義進(jìn)行了論述，同時，，筆者也明顯地感覺到王小帥近期的作品，所謂的“個人”已經(jīng)漸漸模糊、他作品中主題之外拓展、延展已經(jīng)成為一種看似獨(dú)立，實(shí)則普遍的社會大相。因此，王小帥電影中的男性形象類型地塑造也體現(xiàn)了一段變化地過程。而這種變化過程與他從困境到領(lǐng)悟、從掙扎到回歸地思想變化過程有關(guān)。 本文分析人物形象并不同一般意義上，把男性形象分為英雄、丈夫、兒子等具有強(qiáng)烈男性氣質(zhì)特征的人物，而是以王小帥各部電影中男性主角人物為切入點(diǎn)，從社會文化的角度分析其中男性主角人物的形象塑造。事實(shí)上我們分析他電影中的男性形象的主要動因是分析其藝術(shù)觀念，把握其創(chuàng)作特點(diǎn)。
[Abstract]:The male images in Chinese films are numerous and varied. In the sixth generation directorial works represented by Wang Xiaoshuai and others, we can see the characters with more complex character and rich life atmosphere. Wang Xiaoshuai is the sixth generation film director image style more mature representative, he since the film academy graduation, every two or three years release the movie. So far, its director has 10 feature films. Each film gives people a deep feeling of maturity and profound thinking, and the male images he portrays have their own strong characteristics. This paper analyzes and generalizes the male images in Wang Xiaoshuai's films in four chapters. And attempts to summarize Wang Xiaoshuai in the male image of some of the intention and cultural connotation of the director. The first chapter introduces Wang Xiaoshuai's film experience and the winning situation of the feature film, and then briefly introduces the film context in the early 1990s, and analyzes the reasons why Wang Xiaoshuai took the road of "underground" production. Finally, it introduces some expositions on Wang Xiaoshuai's films, and explains the significance of the research on male images in Wang Xiaoshuai's films. Chapter two focuses on the various male images in Wang Xiao-shuai 's films, and divides them into father images. Rebel artist image, city fringe image and youth image. In terms of male image, apart from the days of Winter and Spring and the extreme Cold, Wang Xiaoshuai has created a alienated character, and all the male images in other films have documentary characteristics. For example, the male images in "second Brother", < Seventeen year's Cycling, "left and right" are clearly visible in life, and are not the kind of male images with a strong European alienation. Compared with Lou Ye's Suzhou River, < the Summer Palace >, Spring Wind intoxicated Night, male images in Wang Xiaoshuai's films are generally silent, but concrete, simple and moving. Through these masculine images, he highlights his concern for the fate of the underclass characters in the context of industrialization and globalization. The third chapter takes Wang Xiaoshuai's film image text as an example, from the image detail, the lens scheduling, the light and shadow composition each aspect, analyzes each kind of male image shaping technique in his film. The fourth chapter discusses the characteristics and significance of the male image in his films. At the same time, the author also obviously feels that Wang Xiaoshuai's recent works, the so-called "individual" has gradually become blurred, and he has expanded beyond the theme of his works. Extension has become a seemingly independent, general social phase. Therefore, Wang Xiaoshuai's male image in the film also reflects a changing process. This process of change is related to his changing process from predicament to comprehension, from struggling to returning to thinking change. This paper analyzes the characters in different ways, classifying male images into heroes, husbands, and so on. Son and other characters with strong masculine temperament, but with Wang Xiaoshuai in the film of the male protagonist as a breakthrough point, from the perspective of social and cultural analysis of the image of the male protagonist. In fact, the main reason for us to analyze the male images in his films is to analyze his artistic concepts and grasp his creative characteristics.
【學(xué)位授予單位】：上海師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J905

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 蔣朝群;;生猛青春和深度中年的個性化書寫——王小帥影片《青紅》和《左右》的敘事分析[J];電影評介;2011年19期

2 呂曉明;90年代中國電影景觀之一“第六代”及其質(zhì)疑[J];電影藝術(shù);1999年03期

3 沈亮;可愛的傳統(tǒng) 論“第六代”電影中的保守傾向[J];電影藝術(shù);2003年01期

4 王小帥;劉小磊;;“左右”相合以為愛 王小帥訪談[J];電影藝術(shù);2008年03期

5 姜申;;電影懷舊與消費(fèi)社會[J];電影藝術(shù);2008年06期

6 陸紹陽;;《我11》:個人視域中的歷史圖景[J];電影藝術(shù);2012年04期

7 吳海紅;;延宕與懸置:論王小帥電影《青紅》中的“移民”塑形[J];電影評介;2011年11期

8 紅魚;;專訪柏林最佳導(dǎo)演王小帥 中年人的左右為難[J];電影世界;2008年03期

9 王小帥;劉小磊;;堅持對應(yīng)內(nèi)心的自我表達(dá)——王小帥訪談[J];電影藝術(shù);2012年04期

10 聶偉;;當(dāng)代都市電影與民間欲望漂流:王小帥論[J];杭州師范學(xué)院學(xué)報(社會科學(xué)版);2006年01期

相關(guān)碩士學(xué)位論文 前1條

1 周修怡;論王小帥的電影創(chuàng)作[D];復(fù)旦大學(xué);2008年

本文編號：2004034