【摘要】：近年來,喜劇電影在中國電影市場(chǎng)中異軍突起,接連創(chuàng)下了一系列票房奇跡,帶動(dòng)了整個(gè)電影產(chǎn)業(yè)的發(fā)展,但繁榮的背后卻存在著藝術(shù)品質(zhì)嚴(yán)重下滑的問題。一些當(dāng)下大熱的喜劇電影因?yàn)檫^度追求商業(yè)利益而忽略了電影本身的藝術(shù)價(jià)值,使影片呈現(xiàn)出低俗化、膚淺化的傾向,空有喜劇的形式卻缺乏真正的喜劇精神,與優(yōu)秀的喜劇電影相差甚遠(yuǎn)。針對(duì)這種現(xiàn)象本文從喜劇精神這一角度出發(fā)對(duì)當(dāng)下喜劇電影進(jìn)行了研究。首先本文對(duì)喜劇電影喜劇精神的內(nèi)涵進(jìn)行了界定,總結(jié)了有關(guān)喜劇精神的經(jīng)典論述,提煉出喜劇精神的核心內(nèi)涵并在此基礎(chǔ)上引申出批判精神、超越意識(shí)和人文關(guān)懷這三個(gè)當(dāng)代喜劇電影喜劇精神的新內(nèi)涵。其次,本文以當(dāng)代喜劇精神的新內(nèi)涵為標(biāo)尺分析當(dāng)下喜劇電影喜劇精神缺失的具體表現(xiàn)。當(dāng)下喜劇電影用虛擬的想象和犬儒的態(tài)度取代了批判精神、用游戲惡搞和感官刺激取代了超越精神、用以物為本代替了以人為本,用扭曲的價(jià)值觀取代了真正的人文關(guān)懷。對(duì)于當(dāng)下喜劇電影喜劇精神缺失這一現(xiàn)象,本文以狂歡化的大眾文化為文化背景,從受制于利益驅(qū)動(dòng)的電影制作者和追求娛樂至死的電影觀眾兩方面來探究其原因。最后,本文選取了一些經(jīng)典的優(yōu)秀喜劇電影為例來探討當(dāng)下喜劇電影喜劇精神重構(gòu)的具體方式。指出當(dāng)下喜劇電影應(yīng)該用勇于揭示社會(huì)問題、大膽批判社會(huì)問題的方式實(shí)現(xiàn)批判精神的重構(gòu),用反抗異化人性的力量、肯定人自我力量的方式實(shí)現(xiàn)超越意識(shí)的重構(gòu),用關(guān)注人的生存狀態(tài)并用正確價(jià)值觀引導(dǎo)人的方式實(shí)現(xiàn)人文關(guān)懷的重構(gòu)。喜劇電影雖然以“笑”為主要特征,但不僅僅是用來消遣娛樂的工具,當(dāng)下的喜劇電影在追求娛樂至死的同時(shí)也應(yīng)注重提升影片的藝術(shù)價(jià)值,用喜劇精神填滿其內(nèi)在的空虛,真正意義上實(shí)現(xiàn)票房和藝術(shù)的雙豐收。
[Abstract]:In recent years, comedy films have suddenly emerged in the Chinese film market, a series of box office miracles have been set one after another, which has driven the development of the entire film industry, but there is a serious decline in the artistic quality behind the prosperity. Some of the most popular comedy films have neglected the artistic value of the films because of their excessive pursuit of commercial interests, which makes the films show a tendency of vulgarization and shallowness, but lack the real spirit of comedy in the form of empty comedies. It's a long way from a good comedy film. In view of this phenomenon, this paper studies the comedy film from the angle of comedy spirit. Firstly, this paper defines the connotation of comedy spirit in comedy film, summarizes the classic exposition of comedy spirit, abstracts the core connotation of comedy spirit and extends the critical spirit on this basis. Transcending consciousness and humanistic concern are the three new connotations of comedy spirit in contemporary comedy films. Secondly, this paper analyzes the concrete manifestation of the comedy spirit deficiency in the present comedy film based on the new connotation of the contemporary comedy spirit. Nowadays comedy movies replace the critical spirit with virtual imagination and cynical attitude, replace the transcendental spirit with playful play and sensual stimulation, replace the people-oriented with material-oriented, and replace the real humanistic care with distorted values. As for the lack of comedy spirit, this paper takes the carnival mass culture as the cultural background and probes into the reasons from two aspects: the filmmakers who are restricted by the interests and the movie viewers who pursue entertainment to death. Finally, this paper chooses some classic comedy films as an example to explore the specific ways of reconstruction of comedy spirit. It is pointed out that the comedy movies should reconstruct the critical spirit by the way of bravely revealing social problems, boldly criticizing social problems, reconstructing the transcendental consciousness with the power of resisting alienation of human nature and affirming the power of human self. The reconstruction of humanistic care is realized by paying attention to the living state of human beings and guiding people with correct values. Although comedy film is characterized by "laugh", it is not only a tool for entertainment, but also the art value of the film should be promoted with comedy spirit to fill up its inner emptiness while pursuing entertainment to death. In a real sense, the box-office and the art of the double harvest.
【學(xué)位授予單位】：內(nèi)蒙古師范大學(xué)
【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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