新時空結(jié)構(gòu)電影類型化研究
發(fā)布時間：2019-03-19 18:38
【摘要】：新時空結(jié)構(gòu)電影俗稱“穿越電影”。這種“新”時空結(jié)構(gòu)電影,雖然也是在蒙太奇基礎(chǔ)上對“時間”與“空間”結(jié)構(gòu)的重構(gòu),但這種重構(gòu)不單單是在敘述層面上,更主要體現(xiàn)在故事層面上——它們的故事時空,不再是單一的、線性的,而是多維的、甚至錯亂的。從上個世紀初出現(xiàn)到1980年代后的大規(guī)模風行,新時空結(jié)構(gòu)電影歷經(jīng)了從先鋒到類型的演變。發(fā)展至今,新時空結(jié)構(gòu)電影在情節(jié)套路、人物形象設(shè)定、電影語言等方面都已形成了相對獨立的風格,表現(xiàn)出明顯的類型化特征。就類型化敘事模式而言,早期的新時空結(jié)構(gòu)電影以時間穿梭、時光倒流的單線時空模式為主;1980年代,則出現(xiàn)了以空間變化為核心,具有多個平行空間的多維時空模式。兩種模式相繼發(fā)展保留至今,從結(jié)構(gòu)上看各有各的一套敘事法則,然究其內(nèi)在邏輯和核心精神,二者仍是一脈相承。與傳統(tǒng)的經(jīng)典電影敘事不同,它們均打破傳統(tǒng)線性敘事結(jié)構(gòu),而以非線性敘事以及多維度空間的平行展開,組合成一種“時空交錯”的結(jié)構(gòu),本質(zhì)上是一種后現(xiàn)代解構(gòu)式的“反敘事”。這種新時空結(jié)構(gòu)電影背后隱藏著豐富的社會歷史信息和文化內(nèi)涵,既是現(xiàn)代性與后現(xiàn)代主義文化相互碰撞的體現(xiàn),同時又帶有濃厚的歸鄉(xiāng)情結(jié)。一方面倡導打破傳統(tǒng)、解構(gòu)經(jīng)典,一方面又在呼喚回歸,表現(xiàn)出斑駁復(fù)雜的文化面向。
[Abstract]:The new space-time structure film is commonly known as "through the film". Although this "new" space-time structure film is also a reconstruction of the structure of "time" and "space" on the basis of montage, this reconstruction is not only on the narrative level, but also mainly on the story level-their story space-time. No longer is single, linear, but multidimensional, even chaotic. From the beginning of the last century to the great popularity of the 1980s, the new spatio-temporal structure film has undergone the evolution from the pioneer to the type. Up to now, the new spatio-temporal structure film has formed a relatively independent style in the aspects of plot pattern, character image setting, film language and so on, showing obvious typification characteristics. As far as the type-oriented narrative mode is concerned, the new time-space structure film in the early stage was dominated by time shuttle and single-line spatio-temporal pattern of time reversal, and in the 1980s, there appeared a multi-dimensional space-time pattern with multi-parallel space-time pattern with spatial change as the core. The two models have been preserved one after another until now. From the point of view of structure, each has its own set of narrative rules. However, the internal logic and the core spirit of the two models are still in the same line. Different from the traditional classical film narration, they all break the traditional linear narrative structure, and combine the nonlinear narrative and the multi-dimensional space parallel to form a "space-time interlaced" structure. Essentially, it is a post-modern deconstruction of "anti-narrative". Behind this new space-time structure film is the rich social and historical information and cultural connotation, which is not only the reflection of the collision between modernity and post-modernism culture, but also the strong complex of homecoming at the same time. On the one hand, it advocates breaking the tradition, deconstructing the classics, on the one hand, calling for the return, showing a mottled and complex cultural orientation.
【學位授予單位】：湖南科技大學
【學位級別】：碩士
【學位授予年份】：2016
【分類號】：J905
本文編號：2443783
[Abstract]:The new space-time structure film is commonly known as "through the film". Although this "new" space-time structure film is also a reconstruction of the structure of "time" and "space" on the basis of montage, this reconstruction is not only on the narrative level, but also mainly on the story level-their story space-time. No longer is single, linear, but multidimensional, even chaotic. From the beginning of the last century to the great popularity of the 1980s, the new spatio-temporal structure film has undergone the evolution from the pioneer to the type. Up to now, the new spatio-temporal structure film has formed a relatively independent style in the aspects of plot pattern, character image setting, film language and so on, showing obvious typification characteristics. As far as the type-oriented narrative mode is concerned, the new time-space structure film in the early stage was dominated by time shuttle and single-line spatio-temporal pattern of time reversal, and in the 1980s, there appeared a multi-dimensional space-time pattern with multi-parallel space-time pattern with spatial change as the core. The two models have been preserved one after another until now. From the point of view of structure, each has its own set of narrative rules. However, the internal logic and the core spirit of the two models are still in the same line. Different from the traditional classical film narration, they all break the traditional linear narrative structure, and combine the nonlinear narrative and the multi-dimensional space parallel to form a "space-time interlaced" structure. Essentially, it is a post-modern deconstruction of "anti-narrative". Behind this new space-time structure film is the rich social and historical information and cultural connotation, which is not only the reflection of the collision between modernity and post-modernism culture, but also the strong complex of homecoming at the same time. On the one hand, it advocates breaking the tradition, deconstructing the classics, on the one hand, calling for the return, showing a mottled and complex cultural orientation.
【學位授予單位】：湖南科技大學
【學位級別】：碩士
【學位授予年份】：2016
【分類號】：J905
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