【摘要】：土匪是中國社會的一道黑風景和一股暗力量，是一種特殊的歷史產(chǎn)物。作為社會性的客觀存在，隨著其滋生的環(huán)境一并消失殆盡，但是作為審美性的藝術想象卻愈發(fā)地豐富多彩，成為最為鬼魅的文化母題之一。 本論文除緒論和結(jié)語外，分為三部分。結(jié)合小說與電影從不同藝術角度重新解讀土匪形象的塑造。 緒論部分主要對論文的選題背景及意義、研究現(xiàn)狀和研究問題進行簡單論述，指出論文創(chuàng)新點主要體現(xiàn)在對新時期以來影視創(chuàng)作中的土匪書寫進行梳理歸納和對小說與電影中土匪形象的塑造進行比較研究兩個方面。 第一章，主要分析土匪的溯源及發(fā)展，包括對土匪進行定義與界定和對新時期以來小說與電影關于土匪的觀照進行梳理歸納。 第二章，主要分析新時期以來小說與電影中土匪形象的塑造，并將其劃分為四類，一是異己者、暴徒與惡魔，二是逆反者、復仇者與斗士，，三是原罪者、邊緣者與鄉(xiāng)民，四是俠義者、革命者與英雄；簡析土匪形象的文化內(nèi)涵、歷史價值和時代意義。 第三章，主要分析新時期以來小說與電影中土匪形象的差異，重點選取小說改編電影作比較研究，從人物性格（電影出場），人物發(fā)展（電影情節(jié)）和人物命運（電影謝幕）三個方面分析人物塑造的不同。 結(jié)語部分指出當今影視創(chuàng)作中土匪書寫的缺陷和不足，窺探在不同藝術互動發(fā)展中土匪書寫的未來。
[Abstract]:Bandits are a dark landscape and a dark force in Chinese society, which is a special historical product. As a social objective existence, with its breeding environment disappeared, but as an aesthetic artistic imagination is increasingly rich and colorful, become one of the most ghost cultural motif. In addition to the introduction and conclusion, this paper is divided into three parts. Combining novel and film, the author reinterprets the image of bandits from different artistic angles. In the introduction part, the background and significance of the topic, the current research situation and the research problems are briefly discussed. It is pointed out that the innovation of this paper is mainly reflected in the combing and induction of bandit writing in film and television creation since the new period and the comparative study on the creation of bandit images in novels and movies. The first chapter mainly analyzes the origin and development of bandits, including the definition and definition of bandits and combing and summing up the reflection of bandits in novels and movies since the new period. The second chapter mainly analyzes the creation of bandit images in novels and movies since the new period, and divides them into four categories, one is the alien, the other is the mob and the devil, the other is the rebel, the Avenger and the fighter, the third is the original sinner, the marginal and the villagers. The fourth is chivalrous, revolutionary and hero, and briefly analyzes the cultural connotation, historical value and time significance of bandit image. The third chapter mainly analyzes the differences between the bandit images in novels and movies in the new period, and focuses on the comparative study of novel adaptation films. This paper analyzes the differences in character (movie appearance), character development (movie plot) and character fate (film final curtain) from three aspects: character (movie appearance), character development (movie plot) and character destiny (film final curtain). The conclusion part points out the defects and shortcomings of bandit writing in film and television creation and explores the future of bandit writing in the interactive development of different arts.
【學位授予單位】：湖南大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：I207.42;J905

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