【摘要】：新世紀(jì)開始,喜劇電影作為主要的大眾娛樂方式在類型電影中越來越受到受眾的關(guān)注,喜劇電影的創(chuàng)作也越來越顯現(xiàn)出多樣化的特征。悲劇意識作為喜劇效果的一種建構(gòu)手段也愈發(fā)明顯地展現(xiàn)在觀眾視野當(dāng)中。隨著政治經(jīng)濟(jì)文化的快速發(fā)展,喜劇電影在后現(xiàn)代文化語境和娛樂至死的大眾文化的雙重作用下發(fā)生了巨大的改變。傳統(tǒng)的喜劇電影以歌頌、諷刺、戲耍的形態(tài)達(dá)到“以笑制喜”的目的。但是現(xiàn)今多元化的喜劇電影越來越呈現(xiàn)出黑色幽默、解構(gòu)權(quán)威和悲喜交融的發(fā)展態(tài)勢。因而單純分析電影中的喜劇性已經(jīng)不適用于當(dāng)今的喜劇形式研究。因而文章選取了喜劇電影“以悲制喜”的喜劇手段,從而能更好的理解新世紀(jì)喜劇電影的創(chuàng)作機(jī)制。文章以2000年——2017年初的喜劇電影作為研究對象,選取了有代表性的廣泛被受眾認(rèn)知的53部喜劇電影進(jìn)行文本分析和內(nèi)容分析。通過對新世紀(jì)以前的喜劇電影發(fā)展脈絡(luò)和內(nèi)容的梳理和分析,得出了悲劇意識一直作為潛在元素支撐著喜劇的精神內(nèi)核的結(jié)論。并且根據(jù)政治經(jīng)濟(jì)文化語境的轉(zhuǎn)變將新世紀(jì)以來的喜劇電影歸納為四個發(fā)展階段,對每個階段悲劇意識在其中的共性和特性加以闡釋。文章應(yīng)用了敘事學(xué)的結(jié)構(gòu)主義分析法從題材、人物、情境等方面對文本進(jìn)行解碼,闡釋了悲劇意識在喜劇電影中的具體構(gòu)建方法。并且從美學(xué)角度出發(fā),根據(jù)黑格爾的喜劇論和巴赫金的“狂歡理論”解析了喜劇電影當(dāng)中悲劇意識產(chǎn)生的心理機(jī)制�；谝陨戏治�,文章最后對當(dāng)今喜劇電影的不足和缺陷加以關(guān)注,并指出悲劇意識對喜劇電影創(chuàng)作的重要影響,通過對后現(xiàn)代文化語境的分析對未來喜劇電影中的悲劇意識的建構(gòu)方向提出建設(shè)性意見。文章討論主要的問題有:悲劇意識在喜劇電影研究中的必要性、悲劇意識作為敘事手段的具體構(gòu)建方式、喜劇電影中悲劇意識產(chǎn)生的心理機(jī)制以及喜劇精神內(nèi)核如何引起觀眾的情感認(rèn)同。希望通過對這些問題的研究,喚起喜劇電影創(chuàng)作者對內(nèi)容的進(jìn)一步認(rèn)識,改變當(dāng)今一些喜劇電影“言之無文,行而不遠(yuǎn)”的現(xiàn)狀。
[Abstract]:At the beginning of the new century, comedy film, as the main way of popular entertainment, has attracted more and more attention from the audience in the genre movies, and the creation of comedy films has more and more diversified characteristics. As a means of constructing comedy effect, tragedy consciousness is more and more obvious in audience's vision. With the rapid development of political economy and culture, comedy films have undergone tremendous changes under the dual roles of postmodern cultural context and popular culture of entertainment to death. The traditional comedy films achieve the purpose of "laugh and laugh" in the form of singing, satire and juggling. But nowadays the multiplex comedy movie more and more presents the black humor, the deconstruction authority and the sad and happy blend development tendency. Therefore, the analysis of comedy in movies is no longer suitable for the study of comedy forms. Therefore, the article chooses the comedy means of comedy film "making joy with sorrow", so as to better understand the creative mechanism of comedy film in the new century. This paper takes the comedy films from 2000 to 2017 as the research object, and selects 53 comedy films which are widely recognized by the audience for text analysis and content analysis. By combing and analyzing the development of comedy film before the new century, the author draws the conclusion that tragedy consciousness has been supporting the spirit core of comedy as a potential element. According to the transformation of the political, economic and cultural context, the comedy films since the new century are summed up into four stages of development, and the commonness and characteristics of the tragic consciousness in each stage are explained. This paper applies the structuralism analysis of narratology to decode the text from the aspects of subject matter, character and situation, and explains the concrete construction method of tragedy consciousness in comedy film. According to Hegel's theory of comedy and Bakhtin's Theory of Carnival, this paper analyzes the psychological mechanism of tragic consciousness in comedy film. Based on the above analysis, the article finally pays attention to the shortcomings and defects of comedy films, and points out the important influence of tragedy consciousness on comedy film creation. Based on the analysis of postmodern cultural context, constructive suggestions are put forward for the construction of tragic consciousness in future comedy films. The main problems discussed in this paper are: the necessity of tragedy consciousness in the study of comedy films, the concrete way of constructing tragedy consciousness as a means of narration, The psychological mechanism of tragic consciousness in comedy film and how to arouse the emotional identity of audience. It is hoped that through the study of these problems, the creators of comedy films will have a better understanding of the content and change the present situation of some comedy films which have no words, no words and no way to go.
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J905

【參考文獻(xiàn)】

相關(guān)期刊論文 前5條

1 施健;余青蘭;;王國維與西方悲劇理論[J];名作欣賞;2008年15期

2 彭吉象;試論悲劇性與喜劇性[J];北京大學(xué)學(xué)報(哲學(xué)社會科學(xué)版);2004年04期

3 汪健云;;喜劇的悲感[J];戲劇文學(xué);2001年09期

4 賈磊磊;喜劇電影與電影中的喜劇性[J];當(dāng)代電影;1993年04期

5 尹鴻;論現(xiàn)代悲劇與悲劇意識[J];當(dāng)代電影;1987年06期

相關(guān)碩士學(xué)位論文 前2條

1 劉飛;朱光潛喜劇心理學(xué)思想之研究[D];安徽大學(xué);2012年

2 曹南山;審美接受視野下新世紀(jì)中國大陸喜劇電影研究[D];蘇州大學(xué);2010年

，

本文編號：2151201