本文選題：非線性敘事結構 + 共時性�。� 參考：《山西師范大學》2014年碩士論文

【摘要】：非線性敘事結構的電影為何能使觀影者在時空交錯的敘事方式中得到清晰、完整的故事軸線？非線性敘事結構又是如何完成故事本文構思的？筆者從電影創(chuàng)作的角度出發(fā)，以將“線性素材”（原始“故事本事”）轉化為“非線性敘事結構”的電影本文為最終目的，將影片的創(chuàng)作范疇依據“故事本事”的時間屬性分為“共時性”與“歷時性”兩大板塊，在每個板塊中分別以時間、空間、視角對非線性敘事結構影片進行進一步細化分類，并配以圖、表及實例進行闡述，對較新的典型影片進行解構，還原其原始“故事本事”的線性發(fā)展狀態(tài)，最后以創(chuàng)作的角度對解構后的素材進行重組，恢復故事本文狀態(tài)，以符合線性放映時間，在此過程中最終得出非線性敘事結構的創(chuàng)作流程及創(chuàng)作技巧。本文的研究成果在一定程度上能夠成為非線性敘事結構電影創(chuàng)作的基本工具。 正文部分共分為引言、正文兩個部分。第1章為引言，介紹選題的目的和意義、國內外研究動態(tài)以及本論文的研究內容、方法和創(chuàng)新點。正文是第2章至第5章，以總分結構闡述并討論了從“故事本事”到故事本文的過程，經歷了認識非線性敘事結構、分析“故事本事”屬性、選取結構最終對各個結構的敘事技巧進行細致的闡述。其中第2節(jié)介紹非線性敘事結構的源起及相關概念，探究非線性敘事結構的本質思想、結構標準和結構特點，第3節(jié)介紹非線性敘事結構籌備初期的構思創(chuàng)作的基本流程，第4節(jié)、第5節(jié)是本文的重點，，分別介紹“共時性”、“歷時性”區(qū)域故事素材的非線性敘事結構技巧與具體分類，與傳統(tǒng)的八段式分類的不同之處在于，本文的分類目的針對于輔助創(chuàng)作者的創(chuàng)作，而非作用于電影評論。因此，本文的分類形式細化而豐富，本文的基本分類結構至少有十六種，而在此基礎之上的疊加運用類型還沒有參與到分類結果之中。本文以實例及圖表對結構過程進行細致的闡述，研究結果符合電影創(chuàng)作者與電影愛好者在非線性敘事結構影片部分的創(chuàng)作需要。
[Abstract]:Why can the film with nonlinear narrative structure make the viewer get a clear and complete story axis in the interlaced narrative mode of time and space? How is the nonlinear narrative structure completed in this paper? From the angle of film creation, the author aims at transforming "linear material" (original "story ability") into "nonlinear narrative structure". According to the time attribute of "story ability", the creative category of the film is divided into "synchronic" and "diachronic". In each plate, the nonlinear narrative structure films are further classified by time, space and visual angle. With illustrations of plans, tables and examples, deconstruction of new typical films, restoration of the linear development state of the original "story ability", reorganization of the deconstructed materials from the perspective of creation, restoration of the state of the story in this article, In line with the linear projection time, the creative process and creative skills of nonlinear narrative structure are finally obtained. To a certain extent, the research results of this paper can become the basic tool of nonlinear narrative structure film creation. The text is divided into two parts: introduction and text. Chapter 1 is the introduction, which introduces the purpose and significance of the topic, the research trends at home and abroad as well as the contents, methods and innovations of this paper. The text is from Chapter 2 to Chapter 5. The paper expounds and discusses the process from "story ability" to "story" in the structure of total score, experiences the understanding of nonlinear narrative structure, and analyzes the attribute of "story ability". Finally, select the structure to elaborate the narrative skills of each structure. Section 2 introduces the origin and related concepts of nonlinear narrative structure, explores the essential ideas, structural standards and structural characteristics of nonlinear narrative structure. Section 3 introduces the basic process of conception creation in the initial stage of preparation of nonlinear narrative structure. Section 4, section 5 is the focus of this paper, which introduces the techniques of nonlinear narrative structure and specific classification of "synchronic" and "diachronic" regional story materials, which are different from the traditional eight-paragraph classification. The purpose of this paper is to assist the creator's creation, but not to the movie review. Therefore, the classification form of this paper is detailed and rich. There are at least 16 basic classification structures in this paper, but the superposition application types on this basis have not participated in the classification results. In this paper, the structural process is elaborated with examples and charts. The results of the study are in line with the creative needs of film creators and film lovers in the part of nonlinear narrative structure films.
【學位授予單位】：山西師范大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J904

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本文編號：2059795