【摘要】：杜琪峰導(dǎo)演作為香港新浪潮后期崛起并且保持一貫水準(zhǔn)的導(dǎo)演已經(jīng)成為了香港電影界一個(gè)標(biāo)志性的人物。其創(chuàng)建的銀河映像以獨(dú)特的風(fēng)格和創(chuàng)新的電影手法在香港電影陷入低迷之際扛起了港產(chǎn)片的一片天地。他所擅長(zhǎng)的黑幫片打破了香港傳統(tǒng)黑幫片的常規(guī)敘事形態(tài)和人物形象,這不僅是杜琪峰對(duì)97之后香港社會(huì)的哲學(xué)思考,更是對(duì)香港社會(huì)價(jià)值體系和文化認(rèn)同的一種反映。作為一名“作者”導(dǎo)演,杜琪峰作品統(tǒng)一的風(fēng)格和精神內(nèi)涵使其成為我選取的研究文本。另外,杜琪峰的影響風(fēng)格受到了多方影響,比如黑澤明、科波拉、梅爾維爾等,并且不甘于局限在傳統(tǒng)的香港電影制作套路中。在其電影制作的成熟期,杜琪峰逐步確立了自己的電影風(fēng)格最終自成一體。其對(duì)攝像機(jī)的運(yùn)用；構(gòu)圖、燈光和光影的表達(dá)都帶著濃郁的個(gè)人標(biāo)簽并受到追捧。本篇論文主要運(yùn)用文本分析,通過分析杜琪峰電影中視聽語言的運(yùn)用、個(gè)人風(fēng)格的形成以及所表達(dá)的精神思想來研究杜琪峰對(duì)香港社會(huì)的思考。本文的創(chuàng)新之處在于,通過一個(gè)“作者”的視角,將視野集中,避免籠統(tǒng)地泛泛而談,從杜琪峰的影像中擴(kuò)展到香港黑幫片,以此來探討香港電影制作在90年代后期的變化,創(chuàng)新和突破,并以此來展現(xiàn)杜琪峰對(duì)世界,對(duì)社會(huì),對(duì)男性情懷的個(gè)人解讀。
[Abstract]:Director Duchey Feng has become an iconic figure in the Hong Kong film industry as a late-rising and consistently standard director of the Hong Kong New Wave. With its unique style and innovative cinematography, the Milky way created a world of Hong Kong-made films at a time when Hong Kong films fell into the doldrums. The gangster films which he is good at break the conventional narrative form and character image of the traditional gangster films in Hong Kong. This is not only a philosophical reflection of the Hong Kong society after 1997, but also a reflection of the social value system and cultural identity of Hong Kong. As an author director, Duqifeng's unified style and spiritual connotation make it the research text of my choice. In addition, Johnnie's influence style has been influenced by many ways, such as Kurozawa, Coppola, Melville, etc., and is not willing to be confined to the traditional Hong Kong film production routine. In the mature period of film production, Duqifeng gradually established his own film style. Its use of cameras; composition, lighting and light and shadow expression with strong personal tags and popularity. This thesis mainly uses the text analysis to study her thoughts on Hong Kong society by analyzing the use of audio-visual language, the formation of his personal style and the spiritual thoughts expressed in her films. The innovation of this paper is that, from the perspective of "the author", we can concentrate our vision, avoid generalizing it, and expand it from the image of Duke Peak to the Hong Kong gangster films, so as to explore the changes of Hong Kong film production in the late 1990s. Innovation and breakthrough, and as a way to show the world, to society, to the individual interpretation of male feelings.
【學(xué)位授予單位】：華東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J905

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