非線性敘事電影的大眾化轉(zhuǎn)向（1990-2012）
發(fā)布時間：2018-08-04 19:58
【摘要】：1990年代前后,面對純粹藝術(shù)電影和傳統(tǒng)線性敘事的大眾電影同時有所失落的困境,這個時期及之后的非線性敘事電影實(shí)踐,逐步將其前輩們的藝術(shù)遺產(chǎn)從帶有自戀意味的小眾性和“形式即內(nèi)容”的局限中解放出來,并將其與類型電影題材、元素、風(fēng)格相連接,在更貼近時代生活和時代趣味的地方,對其進(jìn)行活力再造和節(jié)奏更新,變之為能被大眾所接收和歡迎的電影形態(tài),并參與新塑了全球大眾電影中的整體敘事格局。本文是我從謂之“非線性敘事”和“大眾化”的角度,經(jīng)由剖析非線性敘事電影的主流從藝術(shù)實(shí)驗(yàn)轉(zhuǎn)向大眾電影這一史實(shí)及二者關(guān)系,來回應(yīng)1990年代之后非線性敘事電影的大眾化與大眾電影形態(tài)復(fù)雜化這個全球性的電影潮流轉(zhuǎn)變中諸多問題的一次嘗試。全文由序言、正文六章、結(jié)語等八部分組成。序言部分為本論題的展開勾勒了一個歷史和理論背景,并提出了本研究所力圖解決的幾個主要問題。第一章為概論,分兩節(jié)。第一節(jié)中提出兩個問題：何謂非線性敘事電影?何謂大眾化的非線性敘事?然后就這兩個本文中的核心概念進(jìn)行了相關(guān)探討和界定。第二節(jié)對前人的相關(guān)研究成果做了攫要介紹和評價。第二章勾勒了非線性敘事電影及其大眾化演進(jìn)的歷史輪廓,分兩節(jié)。第一節(jié)論述非線性敘事電影主要作為藝術(shù)探索的時期(1916～1990年),經(jīng)由討論《一個國家的誕生》的勝利與《黨同伐異》的失利、非線性敘事電影形式與內(nèi)容的一體兩面、羅伯特·阿爾特曼的失意與《美國往事》的一次嘗試,概述了作為藝術(shù)探索時期的非線性敘事電影的前期、中期、后期的主要狀態(tài)。第二節(jié)描述了非線性敘事電影在其大眾化時期(1990年代及之后)的主要表現(xiàn)和變化,指出非線性敘事電影大眾化中的兩度轉(zhuǎn)向：第一次從“個體藝術(shù)表達(dá)”轉(zhuǎn)向“先鋒式大眾”,第二次從“先鋒式大眾”逐漸轉(zhuǎn)向了“主流化大眾”。在廣泛探討了非線性敘事在大眾電影中的興起之后,應(yīng)該追問的或許是,這些大眾化的非線性敘事電影到底是什么形態(tài)的?因此,第三章集中考察大眾化的非線性敘事電影的敘事模型和范式問題,歸納了其中八個主要的敘事模型和范式：網(wǎng)狀敘事、樹狀敘事、套層結(jié)構(gòu)敘事、環(huán)狀敘事、平行并置式敘事、不可靠敘事、重組式敘事、鏈接式敘事。在艱難地考察了大眾化的非線性敘事電影的主要形態(tài)是怎樣的之后,接下來面對的問題是：這些形態(tài)不一的“反常規(guī)”電影是如何能夠被大眾所接受和喜愛的?這里有兩個問題,第一個問題是：這些“反常規(guī)”的電影是如何能被大眾所接受的?換句話說,這些電影如何在其“創(chuàng)新”和觀眾“看得懂”之間找到平衡,以包容盡可能多的觀眾?因此,第四章集中考察了這個問題,并提供了如下答案：這些電影能被大眾接受有賴于一系列審慎的妥協(xié)：其一是將影片中的故事世界確定化、客觀化,并將其故事高度邏輯化；其二是影像呈現(xiàn)上的規(guī)律化與其它諸多補(bǔ)償性措施,比如一部影片重復(fù)與改造先前的成功案例,或建立與重復(fù)同一個故事模型,或讓不同影像規(guī)律性交替,或使用諸多標(biāo)記提示等補(bǔ)償技法。在第四章考察了這些創(chuàng)新性的電影如何保證能被觀眾“看得懂”之后,接下來的問題是：如何讓觀眾“愛看”這種電影?因此,第五章集中探究大眾化的非線性敘事電影是如何吸引觀眾的。本文認(rèn)為,這有賴于這些電影慣用的三種策略：內(nèi)容上采取去日�；呗�,而專注于刺激感官的影像制造；形式上采取強(qiáng)化節(jié)奏策略和讓觀眾對電影進(jìn)行互動式體驗(yàn)的策略,以此來吸引觀眾對這種電影“持續(xù)關(guān)注”。接下來的第六章致力于考察非線性敘事電影的大眾化運(yùn)動與思潮的起因、影響及對此的反思。這一章首先探討了其主要功績和為電影帶來的新格局和新可能,接著討論了非線性敘事電影及其大眾化的地域性周期。在對非線性敘事電影大眾化這一電影運(yùn)動和思潮給予應(yīng)有的肯定之后,攫要回答了如下追問：在這個世界性的電影潮流性變化中,我們失去了什么?哪些非線性敘事電影的傳統(tǒng)和資源被結(jié)構(gòu)性地拋棄或壓制了?結(jié)語部分從宏觀角度總結(jié)回應(yīng)了本論題中提出的主要問題,并就本論題中另外幾個引發(fā)我興趣的問題進(jìn)行了攫要回應(yīng)。
[Abstract]:Before and after 1990s, in the face of the lost plight of pure art film and traditional linear narrative, the nonlinear narrative film practice of this period and later gradually liberated its predecessors' artistic heritage from the limitations of the narcissistic niche and "form is content". The theme, the element, and the style are connected. In the place where the life of the times and the taste of the times are closer, it is reproduced and updated to the form of film that can be accepted and welcomed by the public, and is involved in the whole narrative pattern in the global mass movie. This is the article I say from "nonlinear narrative" and "popular". Angle, through the analysis of the history of the mainstream of non-linear narrative films from the art experiment to the mass film, and the relationship between the two, to respond to the many problems in the global film trend of the nonlinear narrative film after the 1990s. The full text is made up of the preface, the six chapter of the text, and the conclusion. The eight parts, such as language and so on. The preface outlines a historical and theoretical background, and puts forward several main problems to be solved in this study. The first chapter is an introduction and two sections. The first section puts forward two questions: what is the nonlinear narrative movie? What is the nonlinear narrative? And then the two articles In the second section, the second chapter outlines the historical outline of the nonlinear narrative film and its popular evolution, and divides it into two sections. The first section discusses the period (1916~1990 years) of the nonlinear narrative films mainly as the art of art. On "the birth of a country" and "the failure of the same party", the two sides of the form and content of the nonlinear narrative film, Robert Altman's failure and an attempt at the past of the United States, summarize the main state of the early, middle, and later stages of the nonlinear narrative films in the period of artistic exploration. The second section describes the non line. The main manifestations and changes of sexual narrative film in its popular period (1990s and after) point out that the second shift in the popularization of nonlinear narrative films: the first turn from "individual art expression" to "avant-garde mass", the second time from "avant-garde mass" to "mainstream public". After the rise of sexual narration in popular movies, it is possible to ask what forms are these popular nonlinear narrative films in the end. Therefore, the third chapter focuses on the narrative models and paradigms of the popular nonlinear narrative films, and sums up eight main narrative models and paradigms: reticulate narration and tree form. Narration, layer structure narrative, ring narrative, parallel juxtaposition narrative, unreliable narrative, reorganized narrative, link narrative. After a hard study of the main forms of popular nonlinear narrative films, the following question is how these "anti conventional" films can be connected by the masses. There are two questions. The first question is: how can these "anti conventional" films be accepted by the public? In other words, how do these films balance between "innovation" and the audience "understand" so as to contain as many viewers as possible? So the fourth chapter focuses on the problem and provides it. The following answer: these films can be accepted by the public on a series of deliberate compromises: one is to define the story world in the film, to objectification, and to highly logical its story; secondly, the regularization of the image and other compensatory measures, such as a film repeating and remaking previous successful cases, or In the fourth chapter, after examining how these innovative films can be "understood" by the audience, the next question is: how to let the audience "love" the movie? So the fifth chapter focuses on the research. The popular nonlinear narrative film is how to attract the audience. This article believes that it depends on the three strategies used in these films: the content is to take the daily strategy, and the focus on the sensory processing; in the form of a strategy to strengthen the rhythm strategy and the interactive experience of the audience to the movie, to attract the view. The following sixth chapters are devoted to the study of the cause, influence and reflection of the popular movement and trend of thought in nonlinear narrative films. This chapter first discusses its main achievements and new patterns and possibilities for the film, and then discusses the nonlinear narrative films and their popular regions. The sexual cycle. After giving due affirmation to the film movement and the trend of thought of the nonlinear narrative film, it is a grab to answer the following questions: what are we losing in this cosmopolitan movie trend? What are the traditions and resources of the nonlinear narrative films that have been structurally abandoned or suppressed? The concluding part from the macro This paper summarizes and responds to the main questions raised in this thesis, and makes a reply to several other interesting questions in this topic.
【學(xué)位授予單位】：南京大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J905
本文編號：2164978
[Abstract]:Before and after 1990s, in the face of the lost plight of pure art film and traditional linear narrative, the nonlinear narrative film practice of this period and later gradually liberated its predecessors' artistic heritage from the limitations of the narcissistic niche and "form is content". The theme, the element, and the style are connected. In the place where the life of the times and the taste of the times are closer, it is reproduced and updated to the form of film that can be accepted and welcomed by the public, and is involved in the whole narrative pattern in the global mass movie. This is the article I say from "nonlinear narrative" and "popular". Angle, through the analysis of the history of the mainstream of non-linear narrative films from the art experiment to the mass film, and the relationship between the two, to respond to the many problems in the global film trend of the nonlinear narrative film after the 1990s. The full text is made up of the preface, the six chapter of the text, and the conclusion. The eight parts, such as language and so on. The preface outlines a historical and theoretical background, and puts forward several main problems to be solved in this study. The first chapter is an introduction and two sections. The first section puts forward two questions: what is the nonlinear narrative movie? What is the nonlinear narrative? And then the two articles In the second section, the second chapter outlines the historical outline of the nonlinear narrative film and its popular evolution, and divides it into two sections. The first section discusses the period (1916~1990 years) of the nonlinear narrative films mainly as the art of art. On "the birth of a country" and "the failure of the same party", the two sides of the form and content of the nonlinear narrative film, Robert Altman's failure and an attempt at the past of the United States, summarize the main state of the early, middle, and later stages of the nonlinear narrative films in the period of artistic exploration. The second section describes the non line. The main manifestations and changes of sexual narrative film in its popular period (1990s and after) point out that the second shift in the popularization of nonlinear narrative films: the first turn from "individual art expression" to "avant-garde mass", the second time from "avant-garde mass" to "mainstream public". After the rise of sexual narration in popular movies, it is possible to ask what forms are these popular nonlinear narrative films in the end. Therefore, the third chapter focuses on the narrative models and paradigms of the popular nonlinear narrative films, and sums up eight main narrative models and paradigms: reticulate narration and tree form. Narration, layer structure narrative, ring narrative, parallel juxtaposition narrative, unreliable narrative, reorganized narrative, link narrative. After a hard study of the main forms of popular nonlinear narrative films, the following question is how these "anti conventional" films can be connected by the masses. There are two questions. The first question is: how can these "anti conventional" films be accepted by the public? In other words, how do these films balance between "innovation" and the audience "understand" so as to contain as many viewers as possible? So the fourth chapter focuses on the problem and provides it. The following answer: these films can be accepted by the public on a series of deliberate compromises: one is to define the story world in the film, to objectification, and to highly logical its story; secondly, the regularization of the image and other compensatory measures, such as a film repeating and remaking previous successful cases, or In the fourth chapter, after examining how these innovative films can be "understood" by the audience, the next question is: how to let the audience "love" the movie? So the fifth chapter focuses on the research. The popular nonlinear narrative film is how to attract the audience. This article believes that it depends on the three strategies used in these films: the content is to take the daily strategy, and the focus on the sensory processing; in the form of a strategy to strengthen the rhythm strategy and the interactive experience of the audience to the movie, to attract the view. The following sixth chapters are devoted to the study of the cause, influence and reflection of the popular movement and trend of thought in nonlinear narrative films. This chapter first discusses its main achievements and new patterns and possibilities for the film, and then discusses the nonlinear narrative films and their popular regions. The sexual cycle. After giving due affirmation to the film movement and the trend of thought of the nonlinear narrative film, it is a grab to answer the following questions: what are we losing in this cosmopolitan movie trend? What are the traditions and resources of the nonlinear narrative films that have been structurally abandoned or suppressed? The concluding part from the macro This paper summarizes and responds to the main questions raised in this thesis, and makes a reply to several other interesting questions in this topic.
【學(xué)位授予單位】：南京大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J905
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