【摘要】：香港警匪電影,作為最具獨(dú)特性的香港電影類型之一,給觀眾留下了無數(shù)經(jīng)典的回憶,伴隨了幾代人的成長。雖然其歷史不算太長,但是質(zhì)量和數(shù)量在世界影壇上都有著舉足輕重的地位,而且在香港金像獎(jiǎng)當(dāng)中也是如魚得水,受到廣大觀眾及影評(píng)人的喜愛。2002年,電影《無間道》的上映帶動(dòng)了香港警匪電影一次新的創(chuàng)作熱潮,讓人們感到香港警匪電影的“轉(zhuǎn)型”,以及政治、經(jīng)濟(jì)、文化的變遷對(duì)這一香港特有類型的影響。2012年,先有《逆戰(zhàn)》,后有《大追捕》和《寒戰(zhàn)》等陸續(xù)到來,也已然宣告香港警匪電影熱潮的再次興起。香港警匪電影的長盛不衰和不斷創(chuàng)新對(duì)中國類型電影的創(chuàng)作來說無疑也是一個(gè)積極的參照。同時(shí)隨著對(duì)香港電影研究的日益豐滿,有必要對(duì)回歸后的香港警匪電影的類型發(fā)展進(jìn)行分析和總結(jié)。 本文針對(duì)香港警匪電影這一獨(dú)特的電影類型,欲以1997年香港回歸為始到2012年止,采用類型學(xué)的研究方法,從類型演變和類型元素的角度分析回歸后的香港警匪電影的類型發(fā)展的大體輪廓和特征,以總結(jié)香港警匪電影的類型變化規(guī)律和未來的發(fā)展趨勢。 回歸前,香港警匪電影大致經(jīng)過了從初具雛形到英雄片、成龍警察系列、梟雄片、古惑仔系列這樣一個(gè)發(fā)展脈絡(luò)。回歸后,由于社會(huì)歷史的變遷,香港文化認(rèn)同的轉(zhuǎn)變,香港警匪電影創(chuàng)作者為了應(yīng)對(duì)一系列復(fù)雜變化而不得不做出相應(yīng)改變,隨即出現(xiàn)了具有黑色性質(zhì)的香港警匪電影,仿效好萊塢的“大片模式”,還有《無間道》的上映也逐漸改變了以往香港警匪電影中飛車追逐、火爆槍戰(zhàn)等動(dòng)感場面,進(jìn)而出現(xiàn)了以智斗為主的警匪模式。但隨著全球化進(jìn)程的加快,包括香港警匪電影在內(nèi)的合拍片在世界范圍蔓延開來,尤其是CEPA的簽訂,使得香港警匪電影從融資模式、拍攝主題、表現(xiàn)手段等從創(chuàng)作到制片,從商業(yè)到藝術(shù)等都又發(fā)生了重要變化。隨著兩岸三地電影資源的優(yōu)化整合以及和國外的合作,香港警匪電影將逐漸蛻變成更加國際化的華語警匪電影,繼續(xù)發(fā)揚(yáng)民族特色,彰顯制作實(shí)力,使其屹立于世界電影之林。
[Abstract]:As one of the most unique types of Hong Kong films, Hong Kong police and bandit films have left audiences with countless classic memories, accompanied by the growth of several generations. Although its history is not too long, both quality and quantity play an important role in the world film world, and it is also very popular among the Hong Kong Awards and is popular with the general public and film critics. In 2002, The release of the film "Infernal Affairs" has led to a new creative boom in Hong Kong's police and bandit films. People are aware of the "transformation" of Hong Kong's police and bandit films, as well as the impact of political, economic and cultural changes on this particular type of Hong Kong. In 2012, First, there was "the reverse War", then "the Great pursuit" and "the Cold War" came one after another, and also announced that the Hong Kong police and bandits movie boom was rising again. The Hong Kong police and bandit films are also a positive reference for the creation of Chinese films. At the same time, it is necessary to analyze and summarize the development of Hong Kong police and bandit films. In view of the unique film type of Hong Kong police and bandit films, this paper intends to adopt typology research methods from the beginning of Hong Kong's return to China in 1997 to the end of 2012. From the angle of type evolution and type elements, this paper analyzes the general outline and characteristics of the type development of Hong Kong police and bandit films after the return to China, in order to summarize the changing law of the types of Hong Kong police and bandit films and the development trend in the future. Before the reunification, the Hong Kong police and bandit films went through the development from the beginning to the hero film, the Jackie Chan police series, the great hero film, and the ancient bogus series. After the reunification, as a result of the social and historical changes and the changes in Hong Kong's cultural identity, the Hong Kong police and bandits film creators had to make corresponding changes in order to cope with a series of complex changes. Then came the black nature of the Hong Kong police and bandit films. Following Hollywood's "blockbuster model" and "Infernal Affairs," the release of the movie has gradually changed the past Hong Kong police movie car chase, firefight and other dynamic scenes, and then the emergence of intelligent fighting mainly the pattern of police and bandits. However, with the acceleration of the globalization process, co-productions, including Hong Kong police bandit films, have spread all over the world, especially with the signing of CEPA, which has made Hong Kong police and bandits films from financing modes, shooting themes, means of expression, etc., from creation to production. Important changes have taken place from business to art. With the optimization and integration of the film resources of the three places and the cooperation with foreign countries, Hong Kong police and bandit films will gradually transform into more international Chinese language movies, continue to develop their national characteristics, highlight their production strength, and make them stand in the world film forest.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J905;J909.2

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本文編號(hào)：2342122