【摘要】：法國新浪潮不僅是電影藝術(shù)自誕生以來最杰出的成果之一,也是現(xiàn)代主義文藝作品的重要組成。新浪潮電影運動出現(xiàn)在二十世紀五十年代末的法國青年文化的浪潮中,法國青年導演將鏡頭對向了“當下的年輕人”。因此,新浪潮電影可以看作是戰(zhàn)后青年的自畫像,他們將理想化的自我形象投射到銀幕上,這個形象與現(xiàn)代主義文藝中的“浪蕩子”形象吻合。十九世紀法國詩人波德萊爾在現(xiàn)代性的視野下,挖掘了“浪蕩子”的獨特價值。他認為浪蕩子是現(xiàn)代性的代言人,是現(xiàn)代生活的觀察家。本雅明又進一步從現(xiàn)代性、現(xiàn)代主義的角度上,豐富了浪蕩子的文化意涵�！袄耸幾印毙蜗蠼�(jīng)波德萊爾、本雅明的重新詮釋和塑造后,成為現(xiàn)代主義文藝創(chuàng)作中的一個要素,同時也是現(xiàn)代主義文藝研究的一個切入點。在風格各異的新浪潮導演的作品中,我們總能看見離經(jīng)叛道的青年的身影,而他們身上的浪蕩精神正是與波德萊爾、本雅明筆下的浪蕩子一脈相承,“浪蕩子”為我們從現(xiàn)代主義的角度再讀解新浪潮電影提供了新的可能。本文共分為四章。第一章論述了法國新浪潮電影誕生的歷史語境,指出了新浪潮電影與現(xiàn)代主義的內(nèi)在關(guān)聯(lián)。其次,從電影敘事的角度出發(fā),進一步分析了新浪潮電影的現(xiàn)代主義特征。第二章梳理了“浪蕩子”作為現(xiàn)代主義符號的起源和內(nèi)涵,并試圖闡明浪蕩子對現(xiàn)代生活的凝視與新浪潮電影攝影機對現(xiàn)實的“觀看”方式之間的一致性。第三章通過具體分析新浪潮電影作品中的人物,指出新浪潮導演是如何在銀幕上塑造出浪蕩子形象,以及闡明銀幕浪蕩子背后的現(xiàn)代主義內(nèi)涵。第四章從新浪潮電影培育出的兩位明星入手,指出新浪潮明星讓娜·莫羅和讓·保羅·貝爾蒙多身上的明星氣質(zhì)體現(xiàn)出了浪蕩風格和浪蕩精神,莫羅和貝爾蒙多是浪蕩子形象的銀幕化身。從“現(xiàn)代主義浪蕩子”入手,不僅使我們進一步了解新浪潮電影作為現(xiàn)代主義藝術(shù)的美學特征,也使我們理解新浪潮電影的現(xiàn)代主義文化內(nèi)涵和其背后常常被忽略的時代精神。
[Abstract]:French New Wave is not only one of the most outstanding achievements of film art since its birth, but also an important component of modernist literary works. The new wave film movement appeared in the French youth culture tide in the late 1950s, the French youth director pointed the lens to "the present youth". Therefore, the new wave film can be seen as a self-portrait of postwar youth, who project their idealized self-image onto the screen, which coincides with the image of "the loose son" in modernist literature and art. Baudelaire, a French poet in the 19 th century, excavated the unique value of the "loose son" from the perspective of modernity. He thinks that the loose son is the spokesman of modernity and the observer of modern life. Benjamin further enriched the cultural connotation of the loose son from the perspective of modernity and modernism. After Baudelaire and Benjamin's reinterpretation and moulding, the image of "loose son" has become an essential factor in modernist literary and artistic creation, and also a breakthrough point in the study of modernist literature and art. In the works of the New Wave directors of different styles, we can always see the figure of the rebellious young people, and their wandering spirit is in the same vein with Baudelaire and Benjamin's prodigal son. The Storm provides a new possibility for us to reread the new wave movies from the perspective of modernism. This paper is divided into four chapters. The first chapter discusses the historical context of the birth of the French New Wave Film and points out the inherent relationship between the New Wave Film and Modernism. Secondly, from the angle of film narration, it further analyzes the modernism characteristic of the new wave film. The second chapter combs the origin and connotation of the "Lengzi" as a symbol of modernism, and tries to clarify the consistency between his gaze on modern life and the "viewing" way of the New Wave Movie camera. The third chapter analyzes the characters in the new wave film works, points out how the new wave director creates the image of the loose child on the screen, and clarifies the modernism connotation behind the film wave. The fourth chapter starts with the two stars cultivated by the New Wave Film, and points out that the star temperament of the New Wave stars Jean Namoro and Jean Paul Belmondo embodies the style and spirit of the wave. Morrow and Belmondo are the screen incarnations of the loveless. Starting with "modernism", it not only makes us understand the aesthetic characteristics of the new wave film as a modernist art, but also makes us understand the modernism cultural connotation of the new wave film and the spirit of the times which is often neglected behind it.
【學位授予單位】：中國藝術(shù)研究院
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J905

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