【摘要】：電影作為一種傳播最廣的大眾傳媒形式,電影的銀幕形象和敘事,參與和再現(xiàn)了社會(huì)現(xiàn)實(shí)和文化變遷。銀幕上的青年形象不僅再現(xiàn)銀幕外的青年文化景觀,同時(shí)也參與了對青年話語乃至社會(huì)整體的重構(gòu)。近十年來,中國電影的發(fā)展非常驚人和迅速,而這其中最重要的一股力量是國產(chǎn)青年電影的崛起,其中以青年為主角的小人物喜劇、小妞電影和懷舊青春片占據(jù)了國產(chǎn)電影票房的大半壁江山。其中所呈現(xiàn)的青年表情出現(xiàn)了不同于既往任何一個(gè)時(shí)期的復(fù)雜與多元狀態(tài)。當(dāng)我們在探討這些表情背后所隱藏的文化情緒時(shí),我們不得不追問青年如何與小人物劃上了等號(hào)?青年女性如何被電影所影響,又如何將影響反射到電影的創(chuàng)作中去?女性主義在之中充當(dāng)一種怎樣的角色,情感為何被放大?作為當(dāng)代青年主力軍80后,為什么這一代人的焦慮全部反射到懷舊的情緒中不可自拔?事實(shí)上,中國電影史中歷來不乏青年銀幕形象和青春敘事,但卻缺乏一種從青年文化角度觀照電影的批評(píng)話語,因而,本文的目的就是試圖以青年文化的視角對近十年國產(chǎn)青年電影進(jìn)行解讀。探尋青年電影的文化表情與背后隱藏的文化情緒,有助于當(dāng)代青年厘情個(gè)體自我與時(shí)代社會(huì)的位置和關(guān)系,同時(shí),也為青年電影如何在藝術(shù)和商業(yè)上取得平衡提供一絲有價(jià)值的參考內(nèi)容。
[Abstract]:Film as the most widely spread form of mass media, film screen image and narrative, participate in and reproduce the social reality and cultural changes. The youth image on the screen not only reproduces the youth cultural landscape outside the screen, but also participates in the reconstruction of youth discourse and society as a whole. In the past decade, the development of Chinese films has been amazing and rapid, and one of the most important forces among them is the rise of domestic youth films, in which the young people play a leading role in the comedy of small people. Chick movies and nostalgic youth films account for most of the domestic box office. Among them, the expression of youth appears to be different from any previous period of the complex and pluralistic state. When we look at the underlying cultural emotions behind these expressions, we have to ask young people how they equate with small people. How are young women influenced by movies and how do they reflect their influence into the creation of films? What role does feminism play in the process, and why is emotion magnified? As the main force of contemporary youth after 80, why the anxiety of this generation all reflect to nostalgia mood can not extricate itself? In fact, in the history of Chinese film, there has always been a youth screen image and youth narrative, but there is a lack of a criticism of the film from the perspective of youth culture. The purpose of this paper is to try to interpret the domestic youth films from the perspective of youth culture. Exploring the cultural expression of the youth film and the cultural emotion hidden behind it will be helpful to the position and relationship between the individual self and the society of the times, and at the same time, It also provides a valuable reference for how youth films strike a balance between art and business.
【學(xué)位授予單位】：江西財(cái)經(jīng)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J905

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