【摘要】：“都市電影，是以城市區(qū)域的文化地理為影像語境、以其中異質(zhì)性居民的日常生活和工作內(nèi)容為拍攝題材的電影類型�！背鞘泻碗娪岸际枪I(yè)革命后的產(chǎn)物，他們之間為彼此的發(fā)展提供了元素。隨著我國的城市化進程的加快，城市的經(jīng)濟和文化得到了極大的發(fā)展。這也促使城市電影的題材愈加廣泛，得到的進步越來越大。北京和上海，作為我國無可替代的政治、經(jīng)濟和文化中心最受中國電影人的喜愛和重視。而重慶，這座具有“山城”、“霧都”以及革命歷史名城稱號的西部崛起大都市，也日漸受到中國電影導(dǎo)演的青睞。它獨特的地理風貌和別具一格的人文氣息，為電影題材的選取以及影片風格的體現(xiàn)提供了新的視野。隨著以重慶作為電影故事敘述發(fā)生地的電影作品越來越多，電影中的重慶影像也越來越受到人們的關(guān)注。因此，對都市電影中的重慶影像進行美學(xué)分析和研究，也就具有了重要的現(xiàn)實意義。 本文選取了《生活秀》(2002，霍建起)、《雙食記》(2005，趙天宇)、《瘋狂的石頭》(2006，寧浩)、《好奇害死貓》(2006，張一白)、《門》(2007，李少紅)、《秘岸》(2008，張一白)、《日照重慶》(2010，王小帥)這七部以重慶城為電影拍攝地的電影作品為主要的影像文本，從電影影像中仔細分析重慶都市的城市空間和都市人產(chǎn)生的聯(lián)系，從而來探究電影中所塑造出的重慶都市想象以及書寫出的城市人的情感。影像中的重慶，雖然不能完全等同于現(xiàn)實中的重慶，但是，這些都市電影又確實能反映出一座城市的真實面貌和深藏在城市內(nèi)部的精神本質(zhì)，從這些方面來表現(xiàn)出對重慶的城市影像與其他都市影像之間的文化與內(nèi)涵的差異。 都市電影中的城市空間能最有效地表現(xiàn)出不同城市之間的電影所呈現(xiàn)出的地域差別性。因此，本文第一部分首先把電影里的城市空間分為了三個主要方面：街道和在里面游走的人、交通工具延伸出的城市空間、回家穿越城市的路途。以期來探討重慶城呈現(xiàn)出來的立體城市空間與人們身處在這些空間里所發(fā)生的關(guān)聯(lián)。本文第二部分通過介紹了重慶這座城市和電影的淵源來描述出現(xiàn)實的重慶與光影里的重慶。本文第三部分從具體的影片文本入手，分析了電影里的重慶城市空間所表現(xiàn)出來的都市想象與書寫出來的情感內(nèi)涵。重慶以山城聞名，得天獨厚的地理地貌，讓城市空間呈現(xiàn)出多樣的落差視角。而兩江相伴又讓這座城市常常會起霧，“霧都”所提供朦朧潮濕的特殊氛圍，，也為電影影像提供了豐富變幻的城市景觀與獨特的城市標識。由汽車、過江索道、輕軌等主要現(xiàn)代化交通工具所構(gòu)成的空間區(qū)域，延伸和拓展了城市空間的深廣度，為影片的敘事提供了多樣化的場景。 城市空間是人們?nèi)粘Ｉ畹妮d體，它不僅僅表現(xiàn)出都市的繁華與喧囂，更能夠深層次地構(gòu)建起一個個在都市里發(fā)生的故事，這些故事又影響和豐富著現(xiàn)代都市人的審美記憶和文化結(jié)構(gòu)。本文對關(guān)于重慶都市電影里的城市影像進行了深入分析與理性的梳理，期望能夠凸顯出與北京、上海等大城市的影像所不同的重慶都市特色。讓更多的電影受眾能夠在重慶都市電影影像中體會到不一樣的城市風格和文化意蘊。
[Abstract]:"Urban film is a movie type which takes the cultural geography of the urban area as the image context, with the daily life and work content of the heterogeneous residents as the film type." cities and films are the products of the industrial revolution. They provide elements for each other's development. With the acceleration of the Urbanization process in China, the city's Classics Beijing and Shanghai, as China's irreplaceable political, economic and cultural center, are most popular and valued by Chinese filmmakers. And Chongqing, which has the title of "mountain city", "fog capital" and the title of revolutionary history city. The rising metropolis of the west is becoming more and more popular with Chinese film directors. Its unique geographical features and unique humanistic atmosphere provide a new vision for the selection of film themes and the embodiment of the film style. With the more and more electric works in Chongqing as a movie story, the Chongqing image in the film is also More and more attention has been paid to it. Therefore, it is of great practical significance to analyze and study the aesthetics of Chongqing images in urban films.
This article selects "live show > (2002, Huo Jianqi)," double food "(2005, Zhao Tianyu)," Crazy Stone > "(2006, Hao Ning)," curiosity killing cat > "(2006, Zhang Yibai), < (2007, Li Shaohong), < 2007, Li Shaohong), < (2008, Zhang Yibai)," sunshine Chongqing > "(2010, Wang Xiaoshuai)) and seven films from Chongqing city as the main image text, from electricity, from electricity The shadow images carefully analyze the urban space in Chongqing and the connection between the urban people, so as to explore the Chongqing City imagination and the feelings of the city people in the film. The Chongqing in the image can not be completely equivalent to the reality of Chongqing, but these urban films do reflect a city. The true features and the spiritual essence of the inner city are reflected in the differences between the cultural and the connotations of the city images and other urban images in Chongqing.
Urban space in urban movies can most effectively show the regional differences in the film between different cities. Therefore, the first part of this article first divides the urban space in the film into three main aspects: the street and the people walking in it, the urban space extended by the transportation, and the way home through the city. In the second part, the second part of this paper describes the reality of Chongqing and the light and shadow of Chongqing by introducing the origin of the city and film in Chongqing. The third part of this article begins with the specific film text, and analyzes the weight of the film. Chongqing is famous for the city's imagination and writing. It is famous for the mountain city, the unique geographical features and the diversity of the urban space. The city is often fogged by the two rivers. The "fog capital" provides a hazy and humid atmosphere, which also provides the film image. Rich and changeable urban landscape and unique city logo. The space area, which consists of automobile, cross river ropeway, light rail and other main modern means of transportation, extends and expands the depth of the city space, providing a variety of scenes for the narrative of the film.
Urban space is the carrier of people's daily life. It not only shows the bustling and bustle of the city, but also can build stories that occur in the city deeply. These stories affect and enrich the aesthetic memory and cultural structure of modern urbanites. This article is deeply concerned with the city images in Chongqing's urban films. In the analysis and rational combing, it is expected to highlight the characteristics of Chongqing city different from the images of Beijing, Shanghai and other big cities, so that more movie audiences can realize different urban style and cultural implication in the image of Chongqing urban film.
【學(xué)位授予單位】：重慶工商大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J905

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