西藏題材電影的意識(shí)形態(tài)解讀
發(fā)布時(shí)間：2018-10-30 09:34
【摘要】：法國(guó)結(jié)構(gòu)主義學(xué)家阿爾都塞提出的意識(shí)形態(tài)國(guó)家機(jī)器理論,為電影意識(shí)形態(tài)批評(píng)提供了理論基礎(chǔ)。阿爾都塞認(rèn)為：電影作為國(guó)家意識(shí)形態(tài)工具的一部分,具有鮮明的意識(shí)形態(tài)性。中國(guó)電影尤其是少數(shù)民族題材影片同樣遵循這一理論。在這些少數(shù)民族電影中,西藏由于其優(yōu)美的自然風(fēng)光、奇特的人文風(fēng)俗以及特殊的政治原因,成為意識(shí)形態(tài)表達(dá)不可或缺的重要組成部分。不同時(shí)代、不同國(guó)家、不同民族所拍攝的西藏題材影片,在意識(shí)形態(tài)的表達(dá)上也有著鮮明的區(qū)別。 本文分為前言、正文和結(jié)語(yǔ)三個(gè)部分。前言部分對(duì)西藏題材影片的概念做一個(gè)界定,并對(duì)阿爾都塞的意識(shí)形態(tài)理論與電影的關(guān)系進(jìn)行分析；正文分為四個(gè)部分,第一章介紹意識(shí)形態(tài)在西藏題材電影中的內(nèi)容體現(xiàn)；第二章分析意識(shí)形態(tài)在西藏題材電影中的表現(xiàn)方式；第三章分析意識(shí)形態(tài)在西藏題材電影中的作用；第四章則從創(chuàng)作主體出發(fā),分析意識(shí)形態(tài)在西藏題材電影中主創(chuàng)人員的身份訴求。結(jié)語(yǔ)部分是根據(jù)上文的研究分析,對(duì)西藏題材電影的未來(lái)發(fā)展做一個(gè)展望。
[Abstract]:French structuralist Althusser's theory of ideological state machinery provides a theoretical basis for film ideological criticism. Althusser thinks that as a part of national ideology, film has distinct ideology. Chinese films, especially minority films, also follow this theory. In these minority films, Tibet has become an indispensable part of ideological expression because of its beautiful natural scenery, peculiar cultural customs and special political reasons. The Tibetan films made in different times, different countries and different nationalities also have distinct differences in the expression of ideology. This article is divided into three parts: preface, text and conclusion. The preface defines the concept of Tibetan films, and analyzes the relationship between Althusser's ideology theory and films, the text is divided into four parts, the first chapter introduces the content of ideology in Tibetan films. The second chapter analyzes the expression of ideology in Tibetan films, the third chapter analyzes the role of ideology in Tibetan films. The fourth chapter analyzes the identity demands of the creators of ideology in Tibetan films. The conclusion part is based on the above research and analysis to the future development of Tibetan films.
【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(lèi)號(hào)】：J905
本文編號(hào)：2299627
[Abstract]:French structuralist Althusser's theory of ideological state machinery provides a theoretical basis for film ideological criticism. Althusser thinks that as a part of national ideology, film has distinct ideology. Chinese films, especially minority films, also follow this theory. In these minority films, Tibet has become an indispensable part of ideological expression because of its beautiful natural scenery, peculiar cultural customs and special political reasons. The Tibetan films made in different times, different countries and different nationalities also have distinct differences in the expression of ideology. This article is divided into three parts: preface, text and conclusion. The preface defines the concept of Tibetan films, and analyzes the relationship between Althusser's ideology theory and films, the text is divided into four parts, the first chapter introduces the content of ideology in Tibetan films. The second chapter analyzes the expression of ideology in Tibetan films, the third chapter analyzes the role of ideology in Tibetan films. The fourth chapter analyzes the identity demands of the creators of ideology in Tibetan films. The conclusion part is based on the above research and analysis to the future development of Tibetan films.
【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(lèi)號(hào)】：J905
【參考文獻(xiàn)】
相關(guān)期刊論文 前2條
1 尕藏加洋;;藏族題材電影和藏族電影中的文化反思[J];西藏藝術(shù)研究;2007年02期
2 邵培仁,李梁;媒介即意識(shí)形態(tài)——論法蘭克福學(xué)派的媒介控制思想[J];浙江大學(xué)學(xué)報(bào)(人文社會(huì)科學(xué)版);2001年01期
，本文編號(hào)：2299627
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