本文選題：管虎電影 + 敘事藝術(shù)�。� 參考：《河南大學(xué)》2017年碩士論文

【摘要】：自上世紀九十年代以來,新生代導(dǎo)演開始在影壇嶄露頭角,并以一種不可忽視的力量出現(xiàn)在華語電影中。1992年,管虎以自籌資金拍攝的處女作《頭發(fā)亂了》躋身影壇,獲得了較大的關(guān)注。隨后在拍攝電影之余,也拍攝了眾多觀眾喜愛的電視劇,充分展示了他作為一名導(dǎo)演的才華。在管虎的影視作品中,他將鏡頭對準社會中的底層人物和生活中的普通人群,通過對青春、成長、和生命等主題的勾勒與書寫,以含蓄溫婉的方式表達著他對生命的意義和價值的理解與感悟。本文以管虎多年來的電影作品為主要研究對象,以影視敘事學(xué)為理論依據(jù),從敘事語境、敘事主題、敘事策略和敘事語言來分析管虎電影的敘事藝術(shù)。本文首先分析管虎電影產(chǎn)生的敘事語境。管虎在進行電影創(chuàng)作時正處于我國改革開放的快速發(fā)展時期,政治經(jīng)濟的發(fā)展帶動著文化的變革,文化上的變革深深地影響著我國的電影體制、導(dǎo)演的創(chuàng)作觀念以及故事內(nèi)容形式等各個方面,這也成為管虎電影創(chuàng)作的時代背景特點,特別是在后現(xiàn)代主義文化語境中,管虎用鏡頭表達著他對人和社會的理解。其次,從電影的主題分析管虎作品的內(nèi)在意蘊,并試圖尋找其作品之間的關(guān)聯(lián)。管虎早期的作品大多是一些表現(xiàn)青春、迷茫和尋找的影片,這也與他骨子里的那種痛并快樂著、浪漫并悲哀著的情感表達一脈相承。之后的作品由于受后現(xiàn)代主義的影響和對藝術(shù)的追求讓他轉(zhuǎn)向了對現(xiàn)實生活的消解,對苦痛生存的表達,對人性本真的反思,充滿了反叛、不羈和堅韌。最后,本文從敘事策略和敘事語言兩個方面分析管虎電影在敘事藝術(shù)上的表現(xiàn),管虎不同尋常的非線性敘事使普通的故事講述變得不一般,其中對小人物形象的塑造和在細節(jié)上的雕琢,讓人物變得更加立體豐滿,給觀眾留下了深刻的印象。同時,管虎在視覺上注重鏡頭的拍攝和剪輯,以及色彩的對比使用;聽覺上用簡單、直白卻很有震撼力的音樂渲染畫面,將情感毫無保留地展現(xiàn)在觀眾面前,淋漓盡致地表達著自己對生活對人生的理解和感悟。
[Abstract]:Since the 1990s, the new generation of directors have begun to figure out in the film world and appear in Chinese movies as a force that cannot be ignored. In 1992, Guan Hu joined the film world with his self-financing debut, "hair mess." A great deal of attention has been paid to it. Then, in addition to the film, he also produced a number of audience favorite TV series, fully demonstrating his talent as a director. In Guan Hu's film and television works, he focuses his lens on the bottom of society and the ordinary people in life. He outlines and writes about the themes of youth, growth, and life. He expresses his understanding and understanding of the meaning and value of life in a subtle and gentle way. Taking Guan Hu's film works for many years as the main research object, and taking film and television narratology as the theoretical basis, this paper analyzes the narrative art of Guan Hu's film from narrative context, narrative theme, narrative strategy and narrative language. This paper first analyzes the narrative context of Guan Hu's film. Guan Hu is in the period of rapid development of reform and opening to the outside world in the process of film creation. The development of political economy is driving the change of culture, and the change of culture has deeply influenced the film system of our country. The director's creative concept and the content form of the story have also become the background characteristics of Guan Hu's film creation, especially in the post-modernist cultural context, Guan Hu expresses his understanding of man and society by lens. Secondly, analyze the inner meaning of Guan Hu's works from the theme of the film, and try to find out the relation between his works. Most of Guan Hu's early works are films that show youth, confusion, and search, which is in the same vein as the painful, happy, romantic and sad expression of emotion in his bones. Due to the influence of postmodernism and the pursuit of art, his later works turned to the deconstruction of real life, the expression of suffering and existence, and the reflection on the true nature of human nature, which was full of rebellion, unruly and tenacity. Finally, this paper analyzes the narrative art of Guan Hu film from two aspects: narrative strategy and narrative language. The unusual nonlinear narration of Guan Hu makes ordinary story narration unusual. Among them, the portrayal of the image of the little man and the carving of the details make the characters more three-dimensional and full, leaving a deep impression on the audience. At the same time, Guan Hu pays attention to the shooting and editing of the lens and the use of contrasting colors in the visual sense. In hearing, he uses a simple, straightforward but powerful musical rendering screen, which unreservedly displays his feelings in front of the audience. Incisively and vividly express their understanding of life and understanding of life.
【學(xué)位授予單位】：河南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J911

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本文編號：2007298