論中國(guó)電影中的孫悟空形象
發(fā)布時(shí)間：2018-12-15 05:39
【摘要】：基于華夏文明的傳統(tǒng),“猴”作為字、作為圖騰在歷史長(zhǎng)河中積淀生成了深厚的生物性和文化性韻味。明代吳承恩創(chuàng)作的《西游記》中孫悟空作為主要人物之一承載著傳統(tǒng)社會(huì)的精神內(nèi)核,為中國(guó)讀者所喜愛(ài)�？煽嫉膶O悟空銀幕形象源自于1927年的電影《盤(pán)絲洞》,隨著科學(xué)技術(shù)的精進(jìn)和電影產(chǎn)業(yè)的博興,孫悟空形象作為經(jīng)典IP迸發(fā)出強(qiáng)勁的藝術(shù)張力,再度成為當(dāng)下的銀幕熱點(diǎn)。第一章從猴文化著手探析孫悟空形象產(chǎn)生的歷史及文化淵源,并分析長(zhǎng)篇小說(shuō)《西游記》中的孫悟空形象。第二章按電影創(chuàng)作熱潮將研究對(duì)象劃分為四個(gè)階段:20世紀(jì)20年代,“孫悟空”形象首觸熒屏,引發(fā)“武俠神怪片”熱潮;20世紀(jì)40至60年代,多是富有民族特色的動(dòng)畫(huà)電影和戲曲片,孫悟空在特定時(shí)代背景下充當(dāng)文化武器,表現(xiàn)為教化的特質(zhì);20世紀(jì)90年代,以《大話西游》為標(biāo)志,開(kāi)始對(duì)孫悟空形象進(jìn)行后現(xiàn)代化顛覆性創(chuàng)造,成為標(biāo)識(shí)大眾文化轉(zhuǎn)向的風(fēng)向標(biāo);2013年至今,以《西游·降魔篇》《西游·伏妖篇》為代表,延續(xù)著對(duì)孫悟空形象的多元化創(chuàng)造,將人性的搖擺與佛性的皈依統(tǒng)一于一體。第三章和第四章是對(duì)于第二章中三、四節(jié)的深入探討。第三章以“大話”篇(《大話西游之月光寶盒》《大話西游之大圣娶親》《大話西游3》)中的孫悟空形象作為主要研究對(duì)象,對(duì)形象塑造、敘事策略展開(kāi)論述。第四章以“西游”篇(《西游·降魔篇》《西游·伏妖篇》)中的孫悟空形象作為探究主體,分析其暗黑影像風(fēng)格和對(duì)傳統(tǒng)價(jià)值的重構(gòu)主題。第五章采用比較的方法,通過(guò)與美、日、韓三國(guó)電影中孫悟空形象的比較,更清晰地突顯中國(guó)電影中孫悟空形象與社會(huì)變遷、文化轉(zhuǎn)型、思想變革的對(duì)位關(guān)系。在當(dāng)前中國(guó)電影IP產(chǎn)業(yè)鏈生產(chǎn)和供給側(cè)內(nèi)容改革的關(guān)鍵時(shí)期,本文的研究具有重要的現(xiàn)實(shí)實(shí)踐意義。
[Abstract]:Based on the tradition of Chinese civilization, "monkey" as a word, as a totem in the history of the accumulation of profound biological and cultural charm. Sun Wukong as one of the main characters in Wu Chengen's Journey to the West in Ming Dynasty bears the spiritual core of traditional society and is loved by Chinese readers. The audible screen image of Sun Wukong originates from the 1927 film "Pan Silk Cave". With the development of science and technology and the development of film industry, Sun Wukong's image, as a classic IP, burst out strong artistic tension and become the current hot spot of screen again. The first chapter analyzes the historical and cultural origin of Sun Wukong's image from monkey culture, and analyzes the image of Sun Wukong in the novel Journey to the West. The second chapter divides the research object into four stages according to the movie creation upsurge: in the 1920s, the image of "Sun Wukong" first touched the screen, causing the "martial arts genie movie" upsurge; From the 1940s to 1960s, most of them were animated films and opera films with national characteristics. Sun Wukong acted as a cultural weapon under the background of a specific era, which was characterized by enlightenment. In the 1990s, with A Chinese Odyssey as the symbol, the image of Sun Wukong began to be subversive after modernization, and became the vane to mark the turning of popular culture. Since 2013, represented by the part of "traveling to the West", the part of "the Witchen in the West" continues the pluralistic creation of Sun Wukong's image and unifies the swing of human nature and the conversion of Buddha nature. The third and fourth chapters are the deep discussion of the third and fourth sections of the second chapter. The third chapter focuses on the image of A Chinese Odyssey in "the Box of the Moonlight of A Chinese Odyssey" ("the Box of the Moonlight of A Chinese Odyssey") and "the Great Sage of A Chinese Odyssey" (3), and discusses the shaping of the image and the strategy of narration. In the fourth chapter, the author analyzes the image of Sun Wukong in the part of "traveling to the West" (the part of falling Demons in the West) and the theme of reconstructing the traditional value. The fifth chapter adopts the comparative method, through the comparison with Sun Wukong's image in the American, Japanese and Korean films, more clearly highlights the corresponding relationship between the image of Sun Wukong and social changes, cultural transformation and ideological change in Chinese films. In the key period of production and supply-side content reform of China's film IP industry chain, the research of this paper has important practical significance.
【學(xué)位授予單位】：山東藝術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J905
本文編號(hào)：2380079
[Abstract]:Based on the tradition of Chinese civilization, "monkey" as a word, as a totem in the history of the accumulation of profound biological and cultural charm. Sun Wukong as one of the main characters in Wu Chengen's Journey to the West in Ming Dynasty bears the spiritual core of traditional society and is loved by Chinese readers. The audible screen image of Sun Wukong originates from the 1927 film "Pan Silk Cave". With the development of science and technology and the development of film industry, Sun Wukong's image, as a classic IP, burst out strong artistic tension and become the current hot spot of screen again. The first chapter analyzes the historical and cultural origin of Sun Wukong's image from monkey culture, and analyzes the image of Sun Wukong in the novel Journey to the West. The second chapter divides the research object into four stages according to the movie creation upsurge: in the 1920s, the image of "Sun Wukong" first touched the screen, causing the "martial arts genie movie" upsurge; From the 1940s to 1960s, most of them were animated films and opera films with national characteristics. Sun Wukong acted as a cultural weapon under the background of a specific era, which was characterized by enlightenment. In the 1990s, with A Chinese Odyssey as the symbol, the image of Sun Wukong began to be subversive after modernization, and became the vane to mark the turning of popular culture. Since 2013, represented by the part of "traveling to the West", the part of "the Witchen in the West" continues the pluralistic creation of Sun Wukong's image and unifies the swing of human nature and the conversion of Buddha nature. The third and fourth chapters are the deep discussion of the third and fourth sections of the second chapter. The third chapter focuses on the image of A Chinese Odyssey in "the Box of the Moonlight of A Chinese Odyssey" ("the Box of the Moonlight of A Chinese Odyssey") and "the Great Sage of A Chinese Odyssey" (3), and discusses the shaping of the image and the strategy of narration. In the fourth chapter, the author analyzes the image of Sun Wukong in the part of "traveling to the West" (the part of falling Demons in the West) and the theme of reconstructing the traditional value. The fifth chapter adopts the comparative method, through the comparison with Sun Wukong's image in the American, Japanese and Korean films, more clearly highlights the corresponding relationship between the image of Sun Wukong and social changes, cultural transformation and ideological change in Chinese films. In the key period of production and supply-side content reform of China's film IP industry chain, the research of this paper has important practical significance.
【學(xué)位授予單位】：山東藝術(shù)學(xué)院
【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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