【摘要】：關(guān)于身份重建，國(guó)內(nèi)外都作過(guò)不少研究。有關(guān)于移民/移居后適應(yīng)新文化的身份重建問(wèn)題，關(guān)于身份隨著時(shí)代推移而逐步演變的課題（尤其是女性身份），關(guān)于災(zāi)難或生活中某些劇變所導(dǎo)致的身份重建問(wèn)題等。但關(guān)于研究電影角色的身份重建，卻鮮有深入研究。 一般來(lái)說(shuō)普遍認(rèn)為，源自現(xiàn)實(shí)世界人們切身感受體會(huì)的資料是更真實(shí)科學(xué)的，然而對(duì)此也有爭(zhēng)議，因?yàn)樽鳛檠芯繉?duì)象的人們自身，在回答問(wèn)卷/調(diào)查時(shí)，對(duì)相關(guān)事件，記憶不一定完全準(zhǔn)確，判斷也可能過(guò)于主觀或是易變。而電影，作為視覺藝術(shù)的一種新形式以及文學(xué)作品的新推動(dòng)力（不少電影由文學(xué)作品改編），取之于生活來(lái)源于生活并反映生活切面。電影從誕生到發(fā)展至今的過(guò)程中，反映社會(huì)現(xiàn)狀引起人類深思甚至推動(dòng)社會(huì)改革的影片不計(jì)其數(shù)（包括建構(gòu)在虛擬故事之上的），因此，作為一種新的觀察社會(huì)發(fā)展現(xiàn)狀及隱藏問(wèn)題的工具，電影值得我們?nèi)パ芯可踔潦橇?xí)得某些規(guī)律來(lái)解決現(xiàn)實(shí)生活問(wèn)題。 美國(guó)電影導(dǎo)演昆汀·塔倫蒂諾，以其非線性故事結(jié)構(gòu)，黑色幽默角色設(shè)定以及其極具個(gè)人特色的暴力美學(xué)而聞名。他的新影片《被解放的姜戈》講述了南北大戰(zhàn)前，一位名叫姜戈的黑人奴隸通過(guò)自我身份的重建，使用暴力手段，向白人世界進(jìn)行復(fù)仇的故事。在這部電影里，男主角的身份重建過(guò)程隨著他所經(jīng)歷的事以及他所吸收并同化的新文化一步步展開，因此本片適于用作身份重建的案例分析。同時(shí)，昆汀的特色暴力美學(xué)在本片中也一覽無(wú)遺，可作為重要推動(dòng)成分進(jìn)行研究分析。 本文旨在對(duì)昆汀新片《被解放的姜戈》男主角--姜戈的身份重建過(guò)程進(jìn)行具體案例研究分析。其前本文大膽假定姜戈在復(fù)仇過(guò)程中所吸收并同化的新文化對(duì)其身份重建起到了關(guān)鍵性的催化作用，過(guò)程中每一次混合文化角色扮演對(duì)身份重建起到推動(dòng)作用，，而電影中展現(xiàn)出的暴力則是在其所處環(huán)境中為達(dá)目的的合理方式。本文會(huì)運(yùn)用到汀·圖梅的身份協(xié)商理論，霍米·巴巴的雜糅理論以及�？碌臋�(quán)力理論，通過(guò)分析推動(dòng)姜戈身份重建的每個(gè)關(guān)鍵對(duì)話/文化溝通環(huán)節(jié)來(lái)探討其身份重建的整個(gè)過(guò)程。 通過(guò)對(duì)電影的仔細(xì)研究，本文會(huì)證明其推論，并討論其局限之處，以提供給未來(lái)相關(guān)研究一定參考。本文作者進(jìn)一步提出，研究電影以供現(xiàn)實(shí)生活參照學(xué)習(xí)不失為一種新的思考方式。
[Abstract]:There has been a lot of research on identity reconstruction both at home and abroad. There are issues of identity reconstruction for immigrants / post-emigrants to adapt to the new culture, questions about the gradual evolution of identity over time (especially female identity), problems of identity reconstruction as a result of disasters or some dramatic changes in life, etc. However, there are few in-depth studies on the identity reconstruction of movie characters. Generally speaking, it is generally believed that information derived from people's personal feelings in the real world is more truthful and scientific, but this is also controversial because the people themselves who were the subject of the study responded to questionnaires / surveys about relevant events. Memory may not be completely accurate, and judgment may be too subjective or variable. Film, as a new form of visual art and a new driving force of literary works (many films are adapted from literary works), is derived from life and reflects the aspect of life. In the process from birth to development, there are countless films (including those based on fictitious stories) that reflect the current situation of society and cause human beings to ponder and even promote social reform. As a new tool to observe the current situation of social development and hide problems, movies are worth studying and even acquiring some laws to solve real life problems. American film director Quentin Tarantino is known for his nonlinear story structure, black humorous character settings and his personal aesthetics of violence. His new film, "liberated ginger," tells the story of a black slave named Jango who used violence to avenge the white world through self-reconstruction and violence before the North and South Wars. In this film, the actor's identity reconstruction process is carried out step by what he experiences and the new culture he assimilates, so it is suitable for the case study of identity reconstruction. At the same time, Quentin's characteristic aesthetics of violence in this film also unmistakable, can be an important component to promote research and analysis. The purpose of this paper is to make a case study on the process of identity reconstruction of the protagonist of Quentin's new film "liberated Jiang GE". This paper assumes that the new culture absorbed and assimilated by Jiang GE in the process of revenge plays a key role in the reconstruction of his identity, and each time in the process, the role of mixed culture plays a role in promoting the reconstruction of identity. The violence shown in the film is a reasonable way to achieve a goal in its environment. This paper will apply the theory of identity negotiation, Homi Baba's theory of hybridity and Foucault's theory of power. The whole process of Jiang GE identity reconstruction is discussed by analyzing each key dialogue / cultural communication link that promotes his identity reconstruction. Through careful study of the film, this paper will prove its inferences and discuss its limitations, which can be used as a reference for future research. The author further suggests that it is a new way of thinking to study movies for reference of real life.
【學(xué)位授予單位】：上海外國(guó)語(yǔ)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)：2138893