本文選題：馮小剛 + 賀歲片��； 參考：《河南大學(xué)》2014年碩士論文

【摘要】：在當(dāng)代電影導(dǎo)演中,能長期屹立于導(dǎo)演界不倒,并且能順應(yīng)觀眾刁鉆的口味轉(zhuǎn)變而轉(zhuǎn)型的屈指可數(shù),而馮小剛在這屈指可數(shù)的人中位居前列。帶著初出茅廬的勇氣,帶著對社會現(xiàn)象的批判心理,馮小剛用他那特有的“京味”語調(diào),給我我們呈現(xiàn)出一個個含淚笑的狂歡式作品。以獨有的馮氏幽默征服了挑剔的觀眾,這種平民視角下的黑色幽默奠定了他在中國賀歲電影中的地位。 隨著《甲方乙方》、《不見不散》、《手機》、《大碗》等幾部電影的相繼成功,馮小剛的黑色幽默喜劇風(fēng)格逐漸被大眾接受,他的影響力也不斷擴大。在他成為著名導(dǎo)演后,他并沒有沉溺在賀歲電影取得的成功喜悅中,開始反思自己電影的發(fā)展。當(dāng)一個成功導(dǎo)演身處巔峰,不滿現(xiàn)狀不斷反思的時候,他的視野正在不斷的開放。隨著名氣的越來越大,馮氏電影已然成為了中國電影市場不可或缺的一部分。馮氏幽默的品牌已然確立,可這時的馮小剛已不滿足自己的電影在國內(nèi)取得的獎項,更吸引他的是國際影壇的認(rèn)可。 在順境中的馮小剛,做出大膽的轉(zhuǎn)型。以風(fēng)格的轉(zhuǎn)變來順應(yīng)時代的發(fā)展,謀求口味愈加刁鉆的觀眾們的垂青,以及提高世界影壇的知名度。然而,探索的道路并非一帆風(fēng)順�！兑寡纭返氖�,馮小剛受到慘痛的打擊,口碑極差,罵聲連連。但馮小剛沒有停止他探索的腳步,《集結(jié)號》的出現(xiàn),讓馮小剛?cè)计鹦碌南Ｍ?之后的大作《唐山大地震》更是轟動影壇,突破6億的票房也使馮小剛終于在自己的轉(zhuǎn)型中找到了適合自己的道路。 在馮小剛電影創(chuàng)作的過程中,我們可以清楚的看到,馮小剛一直堅持對藝術(shù)的不斷追求,他幾乎年年都會有新的作品產(chǎn)生,馮小剛用不斷變化的題材和風(fēng)格證明這自己的努力和實力。在馮小剛追求藝術(shù)理想的過程中,有過陷入視野低谷的困境,也曾經(jīng)歷過創(chuàng)作巔峰的輝煌,他之所以能在導(dǎo)演界屹立不倒,是他的不斷創(chuàng)新,大膽轉(zhuǎn)型,順應(yīng)時代抓牢觀眾的欣賞心理。馮小剛電影風(fēng)格的大膽轉(zhuǎn)型,是傳統(tǒng)國產(chǎn)電影與新時代電影的完美融合的結(jié)晶。這種轉(zhuǎn)變,不僅顛覆了傳統(tǒng)的中國電影,更有效與新時代世界電影的接軌。馮小剛在追求藝術(shù)與商業(yè)高度融合的階段,從電影的主題選擇,敘事風(fēng)格,語言特色等方面都發(fā)生了哪些變化?在不斷進(jìn)步的過程中又保留了哪些他的個人特點?并對今后他的電影以及整個電影市場有什么樣的影響,這是本文我們將討論的問題。
[Abstract]:Among contemporary film directors, who have long lived in the world of directors and have been able to adapt to the tricky taste of the audience, Feng Xiaogang is at the top of the list. With his courage and criticism of social phenomena, Feng Xiaogang presents us with tearful carnival works with his unique "Jingwei" tone. With his unique Feng's humor, he has conquered the critical audience. This kind of black humor from the perspective of the common people has established his position in Chinese New year movies. With the success of several films, such as Party A, Party B, Mobile phone, Bowl, etc., Feng Xiaogang's black humor comedy style was gradually accepted by the public, and his influence expanded. After he became a famous director, he did not indulge in the success of New year's film and began to reflect on the development of his film. When a successful director is at the top, dissatisfied with the current situation of continuous reflection, his vision is constantly open. With the growing popularity, Feng film has become an indispensable part of the Chinese film market. Feng's brand of humor has been established, but at this time Feng Xiaogang is no longer satisfied with his film in the domestic awards, more attractive to him is the international film recognition. In the smooth state of Feng Xiaogang, make bold transformation. Change in style to adapt to the development of the times, to seek more sophisticated taste of the audience, and to enhance the world's film industry. However, the path of exploration was not smooth. The failure of the Night Banquet, Feng Xiaogang suffered a terrible blow, word-of-mouth, scolding repeatedly. But Feng Xiaogang did not stop his steps to explore, the emergence of the assembly number, let Feng Xiaogang ignite new hope! After the masterpiece "Tangshan earthquake" is a sensation in the film world, more than 600 million box office also make Feng Xiaogang in their transition finally found a suitable way to their own. In the process of Feng Xiaogang film creation, we can clearly see that Feng Xiaogang has always insisted on the continuous pursuit of art, he will produce new works almost every year. Feng Xiaogang proved its strength and effort with its changing themes and styles. In the process of pursuing the artistic ideal, Feng Xiaogang had the predicament of falling into the valley of vision and the brilliance of the peak of creation. The reason why he was able to stand erect in the world of directors was his constant innovation and bold transformation. Conform to the times and grasp the appreciation of the audience. The bold transformation of the Feng Xiaogang film style is the crystallization of the perfect fusion of the traditional domestic film and the new era film. This change, not only subverts the traditional Chinese film, more effective with the new era of the world film. What changes have taken place in Feng Xiaogang's pursuit of a high degree of convergence between art and commerce in terms of the choice of themes, narrative style, language characteristics, and so on? What are his personal characteristics in the process of continuous progress? And the future of his film and the film market as a whole, this is the issue we will discuss.
【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】：2014
【分類號】：J905

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本文編號：2116556