中日電影中民族文化闡釋比較研究
發(fā)布時(shí)間：2018-08-06 08:32
【摘要】：在經(jīng)濟(jì)全球化的帶動(dòng)之下，跨文化交流日益頻繁，作為跨文化傳播的重要載體之一，電影承擔(dān)了越來越多的傳播責(zé)任。對于處在東方電影范疇的我國民族電影來講，如何應(yīng)對好萊塢電影來勢洶洶的文化霸權(quán)，規(guī)避全球文化趨同性帶來的電影美學(xué)特征趨同化，保持我國民族電影的異質(zhì)性，進(jìn)而促進(jìn)我國民族電影產(chǎn)業(yè)健康、和諧、可持續(xù)發(fā)展就成了一個(gè)迫在眉睫的文化課題，同時(shí)也是本論文的研究目的所在。 中國和日本地理上同屬亞洲，文明同屬于東方文明，有著共同的文化淵源。受中國獨(dú)特的儒釋道文化影響和自身島國的特性，日本逐漸形成了自己的民族文化。但到了近現(xiàn)代，隨著資本主義在日本的飛速發(fā)展，日本社會(huì)也隨著資本主義浪潮而開始全盤西化的進(jìn)程，使傳統(tǒng)民族文化受到了極大的沖擊，也使日本當(dāng)前的文化更加接近于西方文化。而中國歷史文化悠久，在改革開放之后政治環(huán)境漸漸寬松，經(jīng)濟(jì)不斷高速的發(fā)展，文化形態(tài)也正趨于多元化。 雖然在兩種發(fā)展軌跡不同但源頭相同的民族文化背景上滋生的電影藝術(shù)都充分體現(xiàn)了東方美學(xué)的特征，有著某些相似的美學(xué)特點(diǎn)，但由于民族文化傳統(tǒng)的差異,就使的兩國的電影創(chuàng)作展現(xiàn)為不同的藝術(shù)特色,對各自民族文化的闡釋方式和所帶來的效果也不徑相同。 本論文采用經(jīng)典文獻(xiàn)調(diào)研、影視作品分析、創(chuàng)作實(shí)踐與總結(jié)和比較研究法等方法,通過比較電影學(xué)的研究平臺(tái)，在東方文化語境下對中日電影的民族文化闡示進(jìn)行比照研究,力圖通過科學(xué)的分析比較對中國民族電影的戰(zhàn)略提出自己的建議，給中國民族電影的發(fā)展提供有效的參考，從而為中國民族電影發(fā)展貢獻(xiàn)自己的力量。 本論文共分為六個(gè)部分，第一部分主要闡述本文的研究目的以及所采用的研究方法，為開展論證提供必要的理論依據(jù)。第二部分通過概述民族文化與電影之間緊密相連的關(guān)系和電影對民族文化的影響方式、影響內(nèi)容等方面，闡述了本文研究背景和研究重要性；第三部分通過分析兩國文化概況、電影文化背景、民族電影類型和民族精神來宏觀把握兩國電影中的民族文化概況；第四部分分別具體比較兩國電影中民族文化闡釋差異性的原因和美學(xué)風(fēng)格、敘事結(jié)構(gòu)以及對傳統(tǒng)文化的表現(xiàn)方式上的異同；第五部分闡述日本電影發(fā)展戰(zhàn)略所帶來的啟示和對中國民族電影發(fā)展戰(zhàn)略的建議。最后一部分是通過比較電影學(xué)方法所得出的論文結(jié)論。即中國民族電影迫切需對中華民族悠久的歷史文化進(jìn)行充分挖掘利用，并在此基礎(chǔ)之上不斷汲取其他民族文化精華，，豐富自身的理論體系和結(jié)構(gòu)層次，才能在跨文化傳播以及在世界影壇爭得關(guān)鍵話語權(quán)。
[Abstract]:Under the impetus of economic globalization, cross-cultural communication is becoming more and more frequent. As one of the important carriers of cross-cultural communication, film has assumed more and more responsibility for communication. For Chinese national films in the category of oriental films, how to cope with the aggressive cultural hegemony of Hollywood films, to avoid the convergence of aesthetic features brought by global cultural convergence, and to maintain the heterogeneity of Chinese national films. Therefore, to promote the healthy, harmonious and sustainable development of the national film industry has become an urgent cultural issue, and is also the purpose of this paper. China and Japan belong to Asia geographically, civilization belong to oriental civilization, have common cultural origin. Influenced by China's unique Confucianism, Buddhism and Taoism culture and the characteristics of its own island nation, Japan gradually formed its own national culture. But in modern times, with the rapid development of capitalism in Japan, Japanese society also began the process of overall westernization along with the tide of capitalism, which made the traditional national culture suffer a great impact. It also brings Japan's current culture closer to that of the West. China has a long history and culture. After the reform and opening up, the political environment is gradually relaxed, the economy continues to develop at a high speed, and the cultural form is becoming diversified. Although the film art, which is bred on the background of two different development paths but the same source of national culture, fully embodies the characteristics of Oriental aesthetics and has some similar aesthetic characteristics, but due to the differences of national cultural traditions, So that the film creation of the two countries show different artistic characteristics, the interpretation of their respective national culture and the effect is not the same. This thesis adopts the methods of classical literature investigation, film and television works analysis, creative practice and summary, and comparative research method, through comparative film research platform, in the context of oriental culture, the national cultural interpretation of Chinese and Japanese films is compared and studied. This paper tries to put forward some suggestions on the strategy of Chinese national film through scientific analysis and comparison, to provide an effective reference for the development of Chinese national film, and thus to contribute its own strength to the development of Chinese national film. This paper is divided into six parts. The first part mainly describes the purpose of this paper and the research methods used to provide the necessary theoretical basis for the demonstration. The second part expounds the background and importance of this research by summarizing the relationship between the national culture and the film, the influence mode and the content of the film on the national culture, and the third part analyzes the general situation of the two countries' culture. The film culture background, the national film type and the national spirit to grasp the national culture general situation in the two countries film macroscopically; the fourth part respectively compares the reason and the esthetics style of the national culture explanation difference in the film of the two countries respectively, The fifth part expounds the enlightenment brought by the Japanese film development strategy and the suggestions to the Chinese national film development strategy. The last part is the conclusion of the thesis by comparing the methods of cinematography. That is, it is urgent for Chinese national films to make full use of the long history and culture of the Chinese nation, and on this basis, to absorb the essence of other national cultures and enrich their own theoretical system and structural levels. In order to cross-cultural communication and in the world film world to win the key voice.
【學(xué)位授予單位】：陜西科技大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J905
本文編號(hào)：2167143
[Abstract]:Under the impetus of economic globalization, cross-cultural communication is becoming more and more frequent. As one of the important carriers of cross-cultural communication, film has assumed more and more responsibility for communication. For Chinese national films in the category of oriental films, how to cope with the aggressive cultural hegemony of Hollywood films, to avoid the convergence of aesthetic features brought by global cultural convergence, and to maintain the heterogeneity of Chinese national films. Therefore, to promote the healthy, harmonious and sustainable development of the national film industry has become an urgent cultural issue, and is also the purpose of this paper. China and Japan belong to Asia geographically, civilization belong to oriental civilization, have common cultural origin. Influenced by China's unique Confucianism, Buddhism and Taoism culture and the characteristics of its own island nation, Japan gradually formed its own national culture. But in modern times, with the rapid development of capitalism in Japan, Japanese society also began the process of overall westernization along with the tide of capitalism, which made the traditional national culture suffer a great impact. It also brings Japan's current culture closer to that of the West. China has a long history and culture. After the reform and opening up, the political environment is gradually relaxed, the economy continues to develop at a high speed, and the cultural form is becoming diversified. Although the film art, which is bred on the background of two different development paths but the same source of national culture, fully embodies the characteristics of Oriental aesthetics and has some similar aesthetic characteristics, but due to the differences of national cultural traditions, So that the film creation of the two countries show different artistic characteristics, the interpretation of their respective national culture and the effect is not the same. This thesis adopts the methods of classical literature investigation, film and television works analysis, creative practice and summary, and comparative research method, through comparative film research platform, in the context of oriental culture, the national cultural interpretation of Chinese and Japanese films is compared and studied. This paper tries to put forward some suggestions on the strategy of Chinese national film through scientific analysis and comparison, to provide an effective reference for the development of Chinese national film, and thus to contribute its own strength to the development of Chinese national film. This paper is divided into six parts. The first part mainly describes the purpose of this paper and the research methods used to provide the necessary theoretical basis for the demonstration. The second part expounds the background and importance of this research by summarizing the relationship between the national culture and the film, the influence mode and the content of the film on the national culture, and the third part analyzes the general situation of the two countries' culture. The film culture background, the national film type and the national spirit to grasp the national culture general situation in the two countries film macroscopically; the fourth part respectively compares the reason and the esthetics style of the national culture explanation difference in the film of the two countries respectively, The fifth part expounds the enlightenment brought by the Japanese film development strategy and the suggestions to the Chinese national film development strategy. The last part is the conclusion of the thesis by comparing the methods of cinematography. That is, it is urgent for Chinese national films to make full use of the long history and culture of the Chinese nation, and on this basis, to absorb the essence of other national cultures and enrich their own theoretical system and structural levels. In order to cross-cultural communication and in the world film world to win the key voice.
【學(xué)位授予單位】：陜西科技大學(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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