本文選題：恐怖電影 + 精神病人形象　； 參考：《重慶大學(xué)》2014年碩士論文

【摘要】：恐怖文化可以宣泄人們在全球化、市場化的快速發(fā)展變化中產(chǎn)生的不安和焦慮，并從中體驗到高度驚險刺激的快感，以滿足恐怖心理的渴求。人們愛看恐怖片，也得益與恐怖片與生俱來的暴露人類本性的特點�？植榔械木癫∪撕驼Ｈ说娜宋镪P(guān)系是構(gòu)成敘事戲劇化的方式之一，在表達這種關(guān)系即揭示人性主題和精神病人形象在影片中所隱藏的文化內(nèi)涵的彰顯也同樣重要。 本文研究的重點是恐怖片中的精神病人形象，精神病人越來越多地出現(xiàn)在恐怖片中甚至作為敘事主體這一現(xiàn)象既是現(xiàn)代文明發(fā)展下的人性表達也是現(xiàn)代人對生活現(xiàn)狀產(chǎn)生的集體焦慮的表現(xiàn)。 在商業(yè)上，這類影片所提供的精神病人形象很大程度上滿足了主流觀眾對于各種病態(tài)行為的獵奇心態(tài)，當(dāng)代商業(yè)媒介下催生的精神病人的非正常性行為和思想折射出電影的觀眾的好奇心理。在藝術(shù)上，恐怖片中的精神病人形象很好地濃縮了屬于那個時代人類共同的詬病，其恰如其分地暗指了當(dāng)下一般現(xiàn)實邏輯的審美趨向和心態(tài)。如此看來，至少從某一方面，恐怖電影中的精神病人形象研究對于如何揭示文化內(nèi)涵和人性表達就顯得尤為重要了。 現(xiàn)階段關(guān)于恐怖片類型研究的重點還是主要集中于敘事、主題、視聽語言、功能等方面的研究，而就其內(nèi)在的文化研究很少。本文試圖從恐怖電影中的精神病人形象進行分析闡述，從恐怖電影的發(fā)展歷史，精神病人恐怖形象的表現(xiàn)形式，出現(xiàn)的原因著手，結(jié)合社會學(xué)、心理學(xué)和弗洛伊德的精神分析學(xué)說和早期�？卵芯康睦硇詨阂窒碌寞偪竦漠a(chǎn)生和治療等理論依據(jù)，采用精神分析、意識形態(tài)批評等方法研究恐怖電影中的精神病人形象及其文化內(nèi)涵。筆者希望通過對恐怖電影中精神病人形象的研究試圖表達一定的社會現(xiàn)實問題及其意義，，從而嘗試為彌補學(xué)術(shù)上這方面的不足盡綿薄之力。
[Abstract]:The culture of terror can give vent to the uneasiness and anxiety caused by the rapid development and change of globalization and marketization, and experience the high thrill pleasure in order to satisfy the craving of terror psychology. People like to watch horror movies, but also benefit from the inherent nature of horror movies exposed the characteristics of human nature. The relationship between the mental patient and the normal person in the horror film is one of the forms of narrative dramatization. It is also important to reveal the theme of human nature and the manifestation of the cultural connotation hidden in the film. The focus of this study is the image of the psychopath in horror films, The phenomenon of mental patients appearing more and more in horror films and even as narrative subjects is not only the expression of human nature under the development of modern civilization, but also the expression of collective anxiety of modern people on the current situation of life. Commercially, the images of mental patients offered by such films largely satisfy mainstream audiences' curiosity about various pathological behaviors. The abnormal behavior and thought of the mental patients under the contemporary commercial media reflect the curiosity of the movie audience. In art, the image of the mental patient in the horror film is a good concentration of the common criticism of mankind in that era, which implies the aesthetic trend and mentality of the current general realistic logic. So, from at least one aspect, the study of mental patient image in horror film is especially important to reveal the cultural connotation and human nature expression. At present, the focus of the study on horror films is mainly focused on narrative, theme, audiovisual language, function and so on, but there is little research on its internal culture. This article attempts to analyze and expound the image of the mental patient in the horror film, from the history of the development of the horror film, the manifestation of the horror image of the mental patient, the reasons for its appearance, and combine the sociology, Psychology, Freud's theory of psychoanalysis and the early Foucault's study of the emergence and treatment of madness under rational repression are used as psychoanalysis. Ideological criticism and other methods to study the image of mental patients and their cultural connotations in horror films. The author hopes that through the study of the image of the psychopath in the horror film, the author tries to express certain social realistic problems and their significance, thus trying to make up for the deficiency in the academic field.
【學(xué)位授予單位】：重慶大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J905

【參考文獻】

相關(guān)期刊論文 前1條

1 張頤武;新美學(xué)、新大眾——“新世紀(jì)文化”的形態(tài)[J];文藝爭鳴;2003年05期

本文編號：2042465