本文選題：1974年 + 1989　； 參考：《中國電影藝術(shù)研究中心》2014年碩士論文

【摘要】：體育類型片指以表現(xiàn)競技對抗1為內(nèi)容或展現(xiàn)運動員個人生涯的電影,在美國類型片體系中占有極其重要的地位。 該類型從1925年的《大學(xué)新生》(The Freshman,1925)開始逐漸確立了一套屬于自己的故事和人物體系,成為了美國第一個以歌頌城市英雄為核心主題的類型。40年代,之后以《拳擊冠軍》(Champion,1949)為代表產(chǎn)生了與之對立的黑色體育片,這類影片借用黑色電影的形式,對城市英雄神話,尤其是城市英雄這一人物形象進(jìn)行質(zhì)疑。之后體育類型片在60年代末逐漸衰落,內(nèi)容與形式都沒有太大的發(fā)展。 在新好萊塢電影已經(jīng)登堂入室的1974年,劃時代的體育類型片《最長的一碼》(The Longest Yard,1974)橫空出世,該片以豐富的社會議題和創(chuàng)新的形式為體育類型片注入了活力,使體育類型片進(jìn)入了現(xiàn)代時期。之后1976年的《洛奇》(Rocky,1976)一片則使體育片取代了西部片成為最能代表美國精神的類型。到1979年為止,還產(chǎn)生了《火爆群龍》(Slap Shot,1977)、《達(dá)拉斯猛龍》(North Dallas Forty,1979)、《突破》(Breaking Away,1979)等一批頗具影響的體育電影,全面突破了體育電影原有的形式,形成了新的現(xiàn)代范式,為當(dāng)代的體育電影奠定了基礎(chǔ)。 而進(jìn)入80年代之后,體育電影又有了全新的發(fā)展,在經(jīng)典范式的基礎(chǔ)上人物和故事主題開始呈現(xiàn)多樣化的特點,黑色體育片也以全新的形式再次出現(xiàn)�！动偪窀郀柗颉�(Caddyshack,1980)、《憤怒的公�！�(Raging Bull,1980)、《火爆教頭草地兵》(Hoosiers,1986)、《百萬金臂》(Bull Durham,1988)和《夢幻之地》(Field of Dreams,1989)是這一時期最具代表性的五部體育電影,他們在不同的方向上發(fā)展了經(jīng)典范式,形成了各自不同的趣味,對當(dāng)今的體育電影創(chuàng)作有很大的啟示作用。 1974年-1989年是美國體育類型片經(jīng)歷了最大變革和至今最大成功的年代,堪稱美國體育類型片的黃金時代。 在1989年之后,體育電影形成了比較固定的形式和主題,雖然在題材上越發(fā)廣泛,但是真正具有創(chuàng)新意義的作品十分鮮見,直到2011年《點球成金》(Moneyball,2011)一片的出現(xiàn),體育電影又一次迎來了重大突破。 在當(dāng)前中國電影類型化剛剛起步的背景下,體育電影因為其較低的制作成本和比較穩(wěn)定的觀眾群體具備著不錯的市場潛力,如果能夠成功借用一些美國在這方面比較先進(jìn)的經(jīng)驗毫無疑問對中國電影類型化題材空間的擴(kuò)展意義重大。
[Abstract]:Sports movies refer to films that show the performance of competitive confrontation 1 or show the individual career of an athlete. It plays an extremely important role in the American genre film system, which began to establish its own story and character system from 1925 to 1925. It became the first type in the United States to sing praise to city heroes as its core theme in the 1940s, and later, represented by the boxing champion Champion 1949, produced the opposite black sports films, which borrowed the form of black films to deal with the myth of city heroes. Especially the city hero this character image carries on the question. Then the sports genre declined in the late 1960s, and neither the content nor the form developed much. In 1974, when new Hollywood movies had entered their homes, the epoch-making sports genre film "the longest Yardi" came out of the world. With rich social issues and innovative forms, the film infuses vitality into sports films and makes sports films enter the modern era. Then, in 1976, Rocky made sports films the most representative of the American spirit. Up to 1979, some influential sports films, such as "Slap Shot", "Dallas Raptors", "North Dallas Fortyn", "Breaking Away" (1979), and so on, have completely broken through the original form of sports films and formed a new modern paradigm. It has laid the foundation for the contemporary sports film. After entering the 1980s, the sports film has had a new development, and on the basis of the classical paradigm, the characters and story themes begin to show the characteristics of diversification. Black sports films are also reappearing in a completely new way. "Crazy Golf" Caddyshack/ 1980, Raging Bulls1980, Hoosiers 1986, Bull Durhami 1988 and Field of Dreams1989) are the five most representative sports films of this period. They developed their classical paradigms in different directions and formed their own different tastes, which have great enlightenments for today's sports film creation. 1974-1989 was the era when American sports films experienced the greatest change and have been the most successful ever since. It is called the golden age of American sports films. After 1989, sports films formed a relatively fixed form and theme. Although the subject matter has become more and more extensive, the truly innovative works are very rare. Until 2011, when Moneyball 2011 (2011), sports films once again ushered in a major breakthrough. In the context of the current Chinese film typology, Sports movies have good market potential because of their low production costs and relatively stable audience. If we can successfully borrow some more advanced American experience in this field, there is no doubt that the expansion of Chinese film genre space is of great significance.
【學(xué)位授予單位】：中國電影藝術(shù)研究中心
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J909.712

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 饒曙光;;體育電影:借鑒與創(chuàng)新[J];藝術(shù)評論;2008年08期

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本文編號：2006326