【摘要】：賈樟柯，第六代導(dǎo)演的領(lǐng)軍人物，他的電影自問(wèn)世時(shí)，便以其獨(dú)特的題材、視點(diǎn)和創(chuàng)作方法等，引起了國(guó)內(nèi)外電影界的關(guān)注。作為20世紀(jì)90年代電影界的新起之秀，賈樟柯用膠片記錄著變遷中的中國(guó)，以其獨(dú)特的創(chuàng)作特色，構(gòu)建了迥異于傳統(tǒng)的宏大敘事的個(gè)人小敘事，以獨(dú)特的創(chuàng)作視角真實(shí)客觀的展現(xiàn)了中國(guó)現(xiàn)代化進(jìn)程中的底層邊緣人物的生存境遇，占領(lǐng)世界影視的一隅。其電影被認(rèn)為是：“傳遞著最為真切的生命體驗(yàn)，在表現(xiàn)新時(shí)期個(gè)體與環(huán)境的強(qiáng)烈沖突中，始終冷靜客觀地關(guān)注著最底層人民的生存狀態(tài)�！北疚闹饕菍�(duì)其影片進(jìn)行敘事倫理層面的分析，從賈樟柯電影的敘事空間、敘事視角以及敘事手法的運(yùn)用等方面出發(fā)，分析其電影表現(xiàn)出怎樣的道德情操和道德悲憫。 本論文主要由六部分組成：第一部分是緒論，主要論述了賈樟柯的電影，其影片在國(guó)內(nèi)外所獲得的獎(jiǎng)項(xiàng)，賈樟柯影片中的敘事和敘事倫理概念的來(lái)源。第二部分是賈樟柯電影敘事空間與敘事倫理，電影是一種視覺(jué)藝術(shù)，空間呈現(xiàn)是電影藝術(shù)中不可或缺的重要組成部分，本章對(duì)賈樟柯電影所呈現(xiàn)的敘事空間進(jìn)行分類，進(jìn)而分析從這些空間中呈現(xiàn)出的敘事倫理。第三部分是流行音樂(lè)與敘事反諷，流行歌曲在賈樟柯的影片中多次出現(xiàn)，其功能是多種多樣的，除了推動(dòng)劇情的發(fā)展、表達(dá)主人公的心理情感之外，還具有敘事層面上的反諷功能。第四部分是人物命運(yùn)與道德悲憫，本章對(duì)賈樟柯影片中的各類人物進(jìn)行分析，例如故鄉(xiāng)的邊緣人、城市的漂泊者、城市的下崗工人和女性形象等，通過(guò)把這些人物置于各個(gè)不同的道德語(yǔ)境中，使其做出倫理選擇和價(jià)值判斷，，進(jìn)而分析其電影表達(dá)出的道德悲憫。第五部分是底層敘事與個(gè)體自由敘事倫理，本章從賈樟柯電影的敘事視角出發(fā)，分析他選擇底層敘事的原因，以及其影片對(duì)愛(ài)的倫理追求和對(duì)底層人物的人文關(guān)懷。第六部分是結(jié)語(yǔ)，“雙重拒絕”與電影敘事倫理危機(jī)，通過(guò)對(duì)布迪厄場(chǎng)域理論的分析，闡述了電影敘事倫理面臨的危機(jī)。
[Abstract]:Jia Zhangke, the leading figure of the sixth generation director, has attracted the attention of the domestic and foreign film circles with his unique themes, viewpoints and creative methods since his film came out. As a new star in the film industry in the 1990s, Jia Zhangke used film to record the changing China. With his unique creative characteristics, Jia Zhangke constructed a small personal narrative, which is totally different from the traditional grand narrative. The unique visual angle of creation shows the living conditions of the underclass marginal characters in the process of Chinese modernization and occupies a corner of the world film and television. Its film is regarded as: "transmit the most real life experience, in the performance of the new era of the strong conflict between the individual and the environment, always calmly and objectively pay attention to the survival of the people at the bottom of the state." This paper mainly analyzes the narrative ethics of Jia Zhangke's films, starting from the narrative space, narrative perspective and the use of narrative techniques, analyzes the moral sentiment and moral compassion of Jia Zhangke's films. This thesis is composed of six parts: the first part is the introduction, mainly discusses Jia Zhangke's films, the awards of his films at home and abroad, and the source of narrative and narrative ethical concepts in Jia Zhangke's films. The second part is Jia Zhangke film narrative space and narrative ethics, film is a visual art, space presentation is an indispensable part of film art, this chapter classifies the narrative space presented by Jia Zhangke film. Then it analyzes the narrative ethics presented from these spaces. The third part is popular music and narrative irony. Pop songs appear many times in Jia Zhangke's films. Their functions are varied, except to promote the development of the plot and to express the psychological feelings of the protagonists. It also has the function of irony in narrative level. The fourth part is the fate of the characters and moral compassion. This chapter analyzes all kinds of characters in Jia Zhangke's films, such as the marginal people of hometown, the vagrants of the city, the laid-off workers and the female images of the city, etc. By placing these characters in different moral contexts and making them make ethical choices and value judgments, the moral compassion expressed in their films is analyzed. The fifth part is the bottom narrative and individual free narrative ethics, this chapter from the narrative perspective of Jia Zhangke film, analysis of the reasons for his choice of the bottom narrative, as well as his film's ethical pursuit of love and humanistic concern for the bottom characters. The sixth part is the conclusion, "double rejection" and the crisis of film narrative ethics. Through the analysis of Bourdieu's field theory, this paper expounds the crisis that film narrative ethics faces.
【學(xué)位授予單位】：河南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J911

【參考文獻(xiàn)】

相關(guān)期刊論文 前3條

1 韓琛;;“電影民工”的“游民電影”——賈樟柯電影與底層中國(guó)[J];電影評(píng)介;2006年19期

2 尹鴻;;世紀(jì)轉(zhuǎn)型:當(dāng)代中國(guó)的大眾文化時(shí)代[J];電影藝術(shù);1997年01期

3 王春林;;新世紀(jì)長(zhǎng)篇小說(shuō)中底層敘事的四種形態(tài)[J];中國(guó)現(xiàn)代文學(xué)研究叢刊;2011年08期

相關(guān)博士學(xué)位論文 前1條

1 李新;新世紀(jì)文學(xué)中的底層敘事[D];東北師范大學(xué);2009年

本文編號(hào)：2380667