異質(zhì)空間與90年代以來(lái)中國(guó)“獨(dú)立電影”的話語(yǔ)建構(gòu)
發(fā)布時(shí)間：2018-07-15 22:45
【摘要】：20世紀(jì)80年代末90年代初,當(dāng)“文化熱”逐漸冷卻,市場(chǎng)經(jīng)濟(jì)開(kāi)始大規(guī)模襲來(lái)時(shí),出現(xiàn)的一種新型電影創(chuàng)作型態(tài)——中國(guó)獨(dú)立電影。中國(guó)獨(dú)立電影更多指向一種體制外創(chuàng)作,無(wú)論隸屬關(guān)系還是作品風(fēng)格都與商業(yè)保持著距離。獨(dú)立電影人不再像“第五代”在歷史溝壑處對(duì)傳統(tǒng)進(jìn)行挖掘反思,也不再對(duì)社會(huì)現(xiàn)實(shí)進(jìn)行美化或溫和展現(xiàn),而是心系中國(guó)當(dāng)下社會(huì)語(yǔ)境和市場(chǎng)文化氛圍,試圖通過(guò)影像勾畫(huà)中國(guó)現(xiàn)代化進(jìn)程中普通人和邊緣人物的生存狀態(tài)。他們更多地從邊緣、異質(zhì)、焦慮、沖突層面,去刻畫(huà)弱勢(shì)群體的境遇,把中國(guó)現(xiàn)代化的轉(zhuǎn)型過(guò)程拍攝成一個(gè)精神、思想和文化的歷程,由此造就了獨(dú)立電影的“異質(zhì)性”�！爱愘|(zhì)”相對(duì)于“常態(tài)”和“日�！倍�,是被規(guī)訓(xùn)劃一的社會(huì)環(huán)境。異質(zhì)空間指的是那些似乎與日常生活空間相悖的鏡像、記憶、禁忌以及種種偏離日常生活的行為環(huán)境,但它不是孤立存在的,它與日常生活空間并存,是不自覺(jué)地嵌入日常生活空間的一部分,可以說(shuō)是日常生活空間的一種裂變,一種被忽視的境遇。相對(duì)于全球化的整體語(yǔ)境來(lái)說(shuō),整個(gè)中國(guó)的影像表達(dá)是異質(zhì)的,而在中國(guó)的導(dǎo)演圈子中,獨(dú)立電影的影像構(gòu)建是異質(zhì)的——因?yàn)楠?dú)立電影導(dǎo)演的靈感不再建立在“一代人思辨的激情”之上,而是游蕩在各個(gè)場(chǎng)所的邊緣處,勇敢地打開(kāi)那一座座生機(jī)勃勃的“異托邦”的倉(cāng)庫(kù)。在具體的影像呈現(xiàn)中,獨(dú)立電影的影像敘事表達(dá)顯然也帶有很強(qiáng)的異質(zhì)性,正是基于表達(dá)內(nèi)容的異質(zhì)性和反叛性,才構(gòu)成了整部影像的特殊性和異質(zhì)性,才進(jìn)而使得獨(dú)立電影導(dǎo)演在整個(gè)導(dǎo)演群體中具有突出性。具體來(lái)說(shuō),獨(dú)立電影中的“異質(zhì)空間”表達(dá)主要集中于人物的選擇和空間地點(diǎn)的選擇上,這些人物“離經(jīng)叛道”,是不被主流社會(huì)關(guān)注和接納的人物,空間地點(diǎn)不同于“異質(zhì)空間”這個(gè)寬泛的范圍,在現(xiàn)實(shí)社會(huì)生活中,它是有具體所指的,但是卻是一些丑陋、殘破和昏暗的地點(diǎn),來(lái)促成整個(gè)影像能指的構(gòu)成。獨(dú)立電影在呈現(xiàn)生活的本真面貌,傳達(dá)出影像的真實(shí)性特征時(shí),并通過(guò)異質(zhì)聲音、異質(zhì)畫(huà)面、異質(zhì)生存狀態(tài)、對(duì)傳統(tǒng)秩序進(jìn)行顛覆來(lái)進(jìn)行自身話語(yǔ)權(quán)的建構(gòu)。但是,新世紀(jì)以來(lái),消費(fèi)主義和犬儒主義不斷膨脹,社會(huì)的思考行為逐步減少,加上獨(dú)立電影自身影像的沉重乏味,使得觀眾十分稀少,進(jìn)而導(dǎo)致獨(dú)立電影的話語(yǔ)建構(gòu)十分艱難。獨(dú)立的精神是對(duì)習(xí)以為常的規(guī)范的逃離,對(duì)主導(dǎo)話語(yǔ)嚴(yán)密網(wǎng)絡(luò)的總體拒絕,對(duì)自我個(gè)體獨(dú)特性的維護(hù),也就是在當(dāng)代中國(guó)話語(yǔ)領(lǐng)域拓展新的空間。面對(duì)欲望和話語(yǔ)暴力,獨(dú)立電影導(dǎo)演應(yīng)該堅(jiān)守自我獨(dú)立意識(shí),在理性主義坍塌的“后烏托邦”時(shí)代追問(wèn)總體生命的價(jià)值歸依何處,堅(jiān)守“作者電影”之于當(dāng)代中國(guó)的現(xiàn)代性立場(chǎng),繼續(xù)運(yùn)用“無(wú)名”的個(gè)人影像敘事展開(kāi)對(duì)都市時(shí)代精神的多元體認(rèn)。
[Abstract]:In the late 1980s and early 1990s, when the "culture fever" gradually cooled and the market economy began to hit on a large scale, a new type of film creation-independent Chinese film-emerged. Chinese independent films tend to be outside the system of creation, both in terms of affiliation and style, at a distance from business. Independent filmmakers no longer dig and reflect on tradition in the historical gullies like the "fifth generation", nor do they beautify or gently show the social reality, but rather focus on the current social context and market culture atmosphere in China. This paper attempts to outline the living conditions of ordinary people and marginal characters in the process of China's modernization through images. They depict the situation of the disadvantaged groups from the aspects of margin, heterogeneity, anxiety and conflict, and film the process of Chinese modernization as a process of spirit, thought and culture, thus creating the "heterogeneity" of independent films. Heterogeneity is the standard social environment relative to normal and daily. Heterogeneous spaces refer to mirrored images, memories, taboos, and behavioral environments that seem to contradict everyday living spaces, but they do not exist in isolation, they coexist with everyday living spaces. It is an unconsciously embedded part of the daily life space, which can be said to be a fission of the daily life space, a neglected situation. In contrast to the overall context of globalization, the image expression of the whole of China is heterogeneous, and in the circle of directors in China, The image construction of independent films is heterogeneous-because independent film directors' inspiration is no longer based on "a generation of speculative passion," but loitering on the fringes of every place. Bravely open the dynamic "heterotopia" warehouse. In the concrete image presentation, the image narrative expression of the independent film obviously also has the very strong heterogeneity, just based on the heterogeneity and rebellion of the expression content, it constitutes the particularity and heterogeneity of the whole image. So that independent film directors in the entire group of directors have prominent. Specifically, the expression of "heterogeneous space" in independent films mainly focuses on the choice of characters and the choice of space location. These characters are "deviant" characters who are not concerned and accepted by the mainstream society. The spatial location is different from the wide range of "heterogeneous space". In real society, it has a specific meaning, but it is some ugly, dilapidated and dim place, to promote the formation of the image signifier. When the independent film presents the true face of life and conveys the authentic features of the image, it constructs its own right of speech through heterogeneous sound, heterogeneous picture, heterogeneous living state and subversion of the traditional order. However, since the new century, consumerism and cynicism have been expanding, the social thinking behavior has been gradually reduced, and the heavy boredom of independent films' own images has made the audience very scarce. Therefore, the construction of independent film discourse is very difficult. The spirit of independence is the escape of the norm which is accustomed to, the overall rejection of the tight network of dominant discourse, and the maintenance of the uniqueness of the individual, that is, the expansion of new space in the field of contemporary Chinese discourse. In the face of desire and verbal violence, independent film directors should stick to their sense of self-independence, and in the post-utopian era of rationalism, they should ask where the value of the whole life is. Adhering to the modernity standpoint of "author's film" in contemporary China, and continuing to use the "nameless" personal image narrative to develop a pluralistic understanding of the spirit of the urban age.
【學(xué)位授予單位】：華僑大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2016
【分類(lèi)號(hào)】：J909.2
本文編號(hào)：2125621
[Abstract]:In the late 1980s and early 1990s, when the "culture fever" gradually cooled and the market economy began to hit on a large scale, a new type of film creation-independent Chinese film-emerged. Chinese independent films tend to be outside the system of creation, both in terms of affiliation and style, at a distance from business. Independent filmmakers no longer dig and reflect on tradition in the historical gullies like the "fifth generation", nor do they beautify or gently show the social reality, but rather focus on the current social context and market culture atmosphere in China. This paper attempts to outline the living conditions of ordinary people and marginal characters in the process of China's modernization through images. They depict the situation of the disadvantaged groups from the aspects of margin, heterogeneity, anxiety and conflict, and film the process of Chinese modernization as a process of spirit, thought and culture, thus creating the "heterogeneity" of independent films. Heterogeneity is the standard social environment relative to normal and daily. Heterogeneous spaces refer to mirrored images, memories, taboos, and behavioral environments that seem to contradict everyday living spaces, but they do not exist in isolation, they coexist with everyday living spaces. It is an unconsciously embedded part of the daily life space, which can be said to be a fission of the daily life space, a neglected situation. In contrast to the overall context of globalization, the image expression of the whole of China is heterogeneous, and in the circle of directors in China, The image construction of independent films is heterogeneous-because independent film directors' inspiration is no longer based on "a generation of speculative passion," but loitering on the fringes of every place. Bravely open the dynamic "heterotopia" warehouse. In the concrete image presentation, the image narrative expression of the independent film obviously also has the very strong heterogeneity, just based on the heterogeneity and rebellion of the expression content, it constitutes the particularity and heterogeneity of the whole image. So that independent film directors in the entire group of directors have prominent. Specifically, the expression of "heterogeneous space" in independent films mainly focuses on the choice of characters and the choice of space location. These characters are "deviant" characters who are not concerned and accepted by the mainstream society. The spatial location is different from the wide range of "heterogeneous space". In real society, it has a specific meaning, but it is some ugly, dilapidated and dim place, to promote the formation of the image signifier. When the independent film presents the true face of life and conveys the authentic features of the image, it constructs its own right of speech through heterogeneous sound, heterogeneous picture, heterogeneous living state and subversion of the traditional order. However, since the new century, consumerism and cynicism have been expanding, the social thinking behavior has been gradually reduced, and the heavy boredom of independent films' own images has made the audience very scarce. Therefore, the construction of independent film discourse is very difficult. The spirit of independence is the escape of the norm which is accustomed to, the overall rejection of the tight network of dominant discourse, and the maintenance of the uniqueness of the individual, that is, the expansion of new space in the field of contemporary Chinese discourse. In the face of desire and verbal violence, independent film directors should stick to their sense of self-independence, and in the post-utopian era of rationalism, they should ask where the value of the whole life is. Adhering to the modernity standpoint of "author's film" in contemporary China, and continuing to use the "nameless" personal image narrative to develop a pluralistic understanding of the spirit of the urban age.
【學(xué)位授予單位】：華僑大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2016
【分類(lèi)號(hào)】：J909.2
【相似文獻(xiàn)】
相關(guān)期刊論文 前10條
1 朱琦;;西方視野中的中國(guó)大陸?yīng)毩㈦娪癧J];電影文學(xué);2009年03期
2 王炎;夏江玲;;中國(guó)獨(dú)立電影之魅力[J];電影文學(xué);2009年15期
3 范倍;;從“獨(dú)立電影”到“個(gè)人電影”的變奏[J];綿陽(yáng)師范學(xué)院學(xué)報(bào);2010年04期
4 彭侃;;西方研究視野中的中國(guó)獨(dú)立電影:回顧與反思[J];現(xiàn)代中文學(xué)刊;2011年01期
5 黃珞;;論當(dāng)代中國(guó)獨(dú)立電影發(fā)展之路[J];電影文學(xué);2012年10期
6 張鵬;曹娟;;中國(guó)獨(dú)立電影的邊界[J];電影文學(xué);2010年14期
7 逯俊寧;;絕對(duì)性與相對(duì)性的統(tǒng)一——獨(dú)立電影內(nèi)涵解析[J];電影文學(xué);2010年03期
8 李江;;論美國(guó)獨(dú)立電影的創(chuàng)作特點(diǎn)和文化影響[J];廣西大學(xué)學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版);2011年03期
9 范蓓;;邊緣的境遇:當(dāng)代中國(guó)獨(dú)立電影的國(guó)際線路和制作模式[J];綿陽(yáng)師范學(xué)院學(xué)報(bào);2011年10期
10 范蓓;陳崢;;中國(guó)當(dāng)代獨(dú)立電影:挖掘現(xiàn)實(shí),尋找方法,建構(gòu)風(fēng)格[J];綿陽(yáng)師范學(xué)院學(xué)報(bào);2012年04期
相關(guān)博士學(xué)位論文 前1條
1 朱曉藝;中國(guó)獨(dú)立電影文化與產(chǎn)業(yè)研究[D];北京師范大學(xué);2007年
相關(guān)碩士學(xué)位論文 前10條
1 白興武;論大學(xué)生獨(dú)立電影的創(chuàng)作方法[D];吉林大學(xué);2010年
2 楊抒;禁忌與逍遙——中國(guó)獨(dú)立電影研究[D];南京師范大學(xué);2004年
3 劉琦;新獨(dú)立電影：中國(guó)獨(dú)立電影的民間轉(zhuǎn)向[D];南京師范大學(xué);2013年
4 李娜;新世紀(jì)中國(guó)獨(dú)立電影的發(fā)展現(xiàn)狀研究（2000-2012）[D];河南大學(xué);2013年
5 徐麗紅;異質(zhì)空間與90年代以來(lái)中國(guó)“獨(dú)立電影”的話語(yǔ)建構(gòu)[D];華僑大學(xué);2016年
6 楊翥鵬;美國(guó)當(dāng)代獨(dú)立電影的敘事特征[D];吉林藝術(shù)學(xué)院;2008年
7 臧連榮;野花初長(zhǎng)成[D];西南大學(xué);2014年
8 岳揚(yáng);涌動(dòng)的暗流[D];西南大學(xué);2011年
9 薛波;傳承與創(chuàng)新[D];南昌大學(xué);2010年
10 張志芳;吉姆·賈木許電影研究[D];南京師范大學(xué);2011年
，本文編號(hào)：2125621
本文鏈接：http://sikaile.net/wenyilunwen/dianyingdianshilunwen/2125621.html
最近更新
教材專(zhuān)著
