【摘要】：寧瀛具有獨(dú)立的創(chuàng)作精神,她出生于1956年,并于1990年開始獨(dú)立拍片。她堅(jiān)持深度紀(jì)實(shí)的創(chuàng)作理念,且其影片風(fēng)格并非一成不變,不斷進(jìn)行實(shí)驗(yàn)性的探索是她的態(tài)度。從早期“北京三部曲”的客觀記錄風(fēng)格,到《無窮動(dòng)》后現(xiàn)代風(fēng)格的初露端倪,再到《A面B面》中的黑色幽默,無一不看出寧瀛在電影創(chuàng)作方面的激情以及真實(shí)表達(dá)自己的堅(jiān)定。 從電影的主題來看,基于對(duì)轉(zhuǎn)型期間城市空間和社會(huì)問題的探索之上,人的生存狀態(tài)是寧瀛一直關(guān)注和表現(xiàn)的客體。本文第一章以寧瀛作品的創(chuàng)作時(shí)間為縱線,將她鏡頭中的城市變化作為切入點(diǎn),探索城市變化背后的秘密——人的迷失以及社會(huì)秩序的重構(gòu)；第二章則從電影界對(duì)寧瀛“先鋒女導(dǎo)演”這個(gè)稱謂入手,分析其作為中國當(dāng)代最具先鋒氣質(zhì)的導(dǎo)演之一,對(duì)于銀幕中的女性形象以及中國女性主義電影這方面的探索和表達(dá)。本文的第三章是在前人研究的基礎(chǔ)上,更加深入地分析其再現(xiàn)與表現(xiàn)相結(jié)合的藝術(shù)特色。一方面是紀(jì)實(shí)主義的藝術(shù)語言,長鏡頭及開放式的結(jié)尾；另一方面是黑色幽默的表現(xiàn)風(fēng)格,象征和隱喻語言的運(yùn)用。
[Abstract]:Ning Ying has an independent creative spirit, she was born in 1956, and started shooting independently in 1990. She adheres to the idea of deep documentary writing, and her film style is not fixed. It is her attitude to make experimental explorations. From the objective recording style of the early "Beijing Trilogy" to the beginning of the postmodern style of "Infinity", to the black humor in "A face B", All of us can see Ning Ying's passion in film creation and her firm expression. From the theme of the film, based on the exploration of urban space and social problems during the transition period, the living state of human beings is the object that Ningying has been paying close attention to and expressing all the time. The first chapter takes the writing time of Ning Ying's works as the vertical line, takes the urban change in her lens as the breakthrough point, explores the secret behind the urban change-the loss of human beings and the reconstruction of social order. The second chapter starts with the title of Ningying's "Pioneer female Director" in the film industry, and analyzes its exploration and expression on the female image on screen and the Chinese feminist film as one of the most vanguard directors in contemporary China. The third chapter is based on the previous studies, more in-depth analysis of the combination of reproduction and performance of the artistic characteristics. On the one hand, it is the artistic language of documentalism, long shot and open ending; on the other hand, it is the expression style of black humor, the use of symbolic and metaphorical language.
【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J911

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 修倜;當(dāng)代中國電影中的黑色幽默[J];電影藝術(shù);2005年01期

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本文編號(hào)：2204425