發(fā)布時(shí)間：2018-06-15 18:21

  本文選題：中國(guó)愛(ài)情電影 + 泰國(guó)愛(ài)情電影�。� 參考：《湖南師范大學(xué)》2014年碩士論文

【摘要】：愛(ài)情電影作為最具票房號(hào)召力和藝術(shù)表現(xiàn)力的電影類型之一,不僅越來(lái)越為市場(chǎng)所重視,也日益成為學(xué)術(shù)界研究的對(duì)象中心之一。一個(gè)值得關(guān)注和研究的現(xiàn)象是,新世紀(jì)以來(lái)泰國(guó)的愛(ài)情電影異軍突起,成為歐美傳統(tǒng)電影強(qiáng)國(guó)和日韓等新興電影強(qiáng)國(guó)之外崛起的一股新力量。而泰國(guó)與中國(guó)同處東亞,又都是發(fā)展中國(guó)家,故其成功之處對(duì)中國(guó)內(nèi)地的愛(ài)情電影發(fā)展具有更為直接的現(xiàn)實(shí)意義和指導(dǎo)作用。本論文通對(duì)中國(guó)和泰國(guó)愛(ài)情電影進(jìn)行多方面的比較,探尋泰國(guó)愛(ài)情電影的可借鑒之資,與此同時(shí),也對(duì)中國(guó)愛(ài)情電影進(jìn)行了一定的梳理和總結(jié)。 通過(guò)對(duì)中泰愛(ài)情電影進(jìn)行比較,可以發(fā)現(xiàn)兩者的相同點(diǎn)在于：第一,都具有強(qiáng)大的衍生力,經(jīng)常與其他電影類型融合,形成新的愛(ài)情電影子類型,這種類型融合成為新世紀(jì)中泰愛(ài)情電影的新趨勢(shì)；第二,近幾年中泰喜劇愛(ài)情電影在大眾文化的催生下獲得前所未有的發(fā)展,票房號(hào)召力較強(qiáng)；第三,“情圣”、底層人物以及具有時(shí)代氣息的男女成為兩國(guó)愛(ài)情電影的主要人物形象；第四,線性情節(jié)結(jié)構(gòu)為中泰愛(ài)情電影的傳統(tǒng)。 而兩者的不同點(diǎn)在于：第一,以都市愛(ài)情為題材的電影占據(jù)中國(guó)愛(ài)情電影的主體位置,而以校園為背景、描述初高中生的清新愛(ài)情的青春愛(ài)情電影則據(jù)泰國(guó)愛(ài)情電影的半壁江山；第二,相較泰國(guó)喜劇愛(ài)情電影中愛(ài)情和喜劇水乳交融的局面,中國(guó)的喜劇愛(ài)情電影則出現(xiàn)了愛(ài)情和喜劇各自為戰(zhàn)的狀況,因此審美價(jià)值稍顯不足；第三,在佛教文化的影響下,泰國(guó)愛(ài)情電影的導(dǎo)演們對(duì)于青少年和酷兒群體的情感世界持更為寬容的創(chuàng)作態(tài)度,拍攝出的作品也廣受全球觀眾的好評(píng),然而中國(guó)卻少有廣受關(guān)注的青春愛(ài)情電影和有關(guān)酷兒題材的愛(ài)情電影；第四,從故事層面來(lái)說(shuō),中國(guó)愛(ài)情電影較泰國(guó)出現(xiàn)劇本原創(chuàng)性不足、愛(ài)情本位缺失和可信度低等方面的短板；第五,中國(guó)的“小妞”形象受到都市白領(lǐng)女性的追捧；第六,中國(guó)愛(ài)情電影更注重故事的情節(jié)結(jié)構(gòu)的革新。 中國(guó)愛(ài)情電影要想取得國(guó)際性的進(jìn)展,可以從以下四個(gè)方面努力：1,講好愛(ài)情故事；2,探尋、發(fā)掘適合本民族的情感表達(dá)方式；3,以人文關(guān)懷開拓情感世界的表現(xiàn)領(lǐng)域；4,強(qiáng)化喜劇愛(ài)情電影的審美意義。
[Abstract]:As one of the most attractive and artistic film types, love film is not only paid more and more attention to by the market, but also become one of the object centers of academic research. A phenomenon worthy of attention and research is that since the new century, the love film of Thailand has suddenly emerged, and has become a new force rising beyond the traditional movie power of Europe and the United States, the rising power of Japan and South Korea and other emerging movie powers. Thailand shares East Asia with China and is also a developing country, so its success has more direct practical significance and guiding function to the development of romantic movies in the mainland of China. This paper compares the Chinese and Thai love movies in many aspects, and explores the resources of Thai love movies. At the same time, it also summarizes the Chinese love movies. By comparing the Chinese and Thai love movies, we can find that the similarities between the two are as follows: first, both have strong derivative power and often merge with other movie types to form new love film subtypes. This type of fusion has become a new trend of Sino-Thai love movies in the new century; second, in recent years, Chinese-Thai comedy and love movies have achieved unprecedented development under the influence of popular culture, and the box-office appeal is relatively strong; third, "Love Sage." The bottom characters and the men and women with the flavor of the times become the main characters of the two countries' love movies; fourth, the linear plot structure is the tradition of the Sino-Thai love movies. The difference between the two is as follows: first, movies with urban love theme occupy the main position of Chinese love movies, and take the campus as the background. The youthful love movies that describe fresh love among junior high school students are based on half of Thai love movies. Second, compared with the situation in Thai comedy love movies, love and comedy are in harmony with each other. China's comedy and love movies have appeared in love and comedy, so the aesthetic value is slightly inadequate; third, under the influence of Buddhist culture, The directors of Thai love films have a more tolerant attitude towards the emotional world of teenagers and queer groups, and the works produced have been well received by audiences around the world. However, there are few popular youth and love movies in China. Fourth, at the story level, Chinese love movies are less original than those in Thailand. Lack of love standard and lack of credibility; fifth, the image of "chick" in China is sought after by urban white-collar women; sixth, Chinese love movies pay more attention to the reform of the plot structure of the story. If Chinese love movies want to make international progress, they can try their best to make efforts in the following four aspects: 1, tell love stories well, explore and explore the expression of emotion suitable for their own nation, and open up the field of expression in the world of emotion with humanistic solicitude; 4. Strengthen the aesthetic significance of comedy and love film.
【學(xué)位授予單位】：湖南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J905

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本文編號(hào)：2023067