【摘要】：中國災(zāi)難題材影視作品相比好萊塢式的災(zāi)難影片，在技術(shù)上比較薄弱，特技場和視聽效果表現(xiàn)不足，但是，，這些絲毫不影響中國災(zāi)難題材影視作品的發(fā)展和產(chǎn)量。國產(chǎn)災(zāi)難題材影視作品開始逐漸走上屬于自己的發(fā)展之路——表現(xiàn)傳統(tǒng)倫理。 本文試圖從敘事和倫理的角度分析中國災(zāi)難影片是如何通過敘事策略來表述傳統(tǒng)倫理的。 本文引言部分介紹了對中國災(zāi)難題材影視作品倫理表述研究的需求，以及學(xué)術(shù)界對于中國災(zāi)難片研究的概況、對于災(zāi)難題材影視作品的界定，以及對中國災(zāi)難題材影視作品做了分類，給予讀者一個(gè)研究背景和總概況的介紹；第一章主要介紹了研究中國災(zāi)難題材影視作品倫理分析的理論來源、對于中國傳統(tǒng)倫理的界定，以及中國災(zāi)難影片中的發(fā)展現(xiàn)狀和倫理意義，這些也是中國災(zāi)難題材影視作品存在的理由和必要性；第二章和第三章從敘事結(jié)構(gòu)模式、敘事元素的角度對中國災(zāi)難題材影視劇中的傳統(tǒng)倫理做了文本分析，從而回答中國災(zāi)難影片是如何表達(dá)“傳統(tǒng)倫理這一問題；第四章主要分析了中國災(zāi)難影片的發(fā)展趨勢，逐步加強(qiáng)數(shù)字技術(shù)的運(yùn)用，并保持和充分發(fā)揮中國災(zāi)難影片的倫理特色。 通過這四章的分析與討論，本文試圖從敘事結(jié)構(gòu)、元素、數(shù)字影像的角度回答中國災(zāi)難片如何進(jìn)行對于倫理親情的表述這一問題。
[Abstract]:Compared with Hollywood disaster films, China's disaster film works are relatively weak in technology, the performance of stunt field and audio-visual effect is insufficient, but these do not affect the development and production of China's disaster film and television works in any way. Domestic disaster theme film and television works began to gradually walk on their own way of development-the performance of traditional ethics. This paper attempts to analyze how Chinese disaster films express traditional ethics through narrative strategies from the perspective of narrative and ethics. The introduction of this paper introduces the demand for the ethical representation of Chinese disaster film and television works, as well as the general situation of the academic research on Chinese disaster film, and the definition of the disaster theme film and television works. As well as the Chinese disaster theme film and television works to do the classification, gives the reader a research background and the general situation introduction; The first chapter mainly introduces the theoretical sources, the definition of Chinese traditional ethics, and the development status and ethical significance of Chinese disaster films. These are also the reasons and necessity of the existence of China's disaster film and television works; The second and third chapters analyze the traditional ethics in Chinese disaster movies and TV dramas from the perspective of narrative structure and narrative elements, so as to answer the question of how Chinese disaster films express "traditional ethics"; The fourth chapter mainly analyzes the development trend of Chinese disaster film, strengthens the application of digital technology step by step, and maintains and gives full play to the ethical characteristics of Chinese disaster film. Through the analysis and discussion of the four chapters, this paper attempts to answer the question of how to express the ethical kinship of Chinese disaster films from the perspective of narrative structure, elements and digital images.
【學(xué)位授予單位】：云南師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J905

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