【摘要】：1995年，隨著成龍的《紅番區(qū)》在內(nèi)地上映，“賀歲片”的概念被隨之引入內(nèi)地，1997年，馮小剛拍攝的《甲方乙方》為內(nèi)地賀歲片的探索拉開(kāi)了序幕。走過(guò)十七年，賀歲片得到了迅速發(fā)展，成為最具中國(guó)本土特色的電影形態(tài)之一，不僅內(nèi)容形式得到拓展，票房更是屢創(chuàng)佳績(jī)。自上世紀(jì)九十年代以來(lái)，“過(guò)年電視看春晚，電影看賀歲片”已經(jīng)成為一種文化消費(fèi)習(xí)慣，然而賀歲片表面的繁榮卻無(wú)法掩蓋其內(nèi)在的危機(jī)，這種危機(jī)主要來(lái)自于對(duì)賀歲片概念的界定。長(zhǎng)期以來(lái)，“類(lèi)型說(shuō)”和“檔期說(shuō)”一直僵持不下，對(duì)賀歲片定義的不確定、對(duì)賀歲片和賀歲檔影片的混淆直接導(dǎo)致電影創(chuàng)作的混亂，凡是春節(jié)前后上映的電影都被冠以賀歲片之名。學(xué)界的研究主要是產(chǎn)業(yè)化研究和社會(huì)歷史批評(píng)等外部研究，對(duì)賀歲片的內(nèi)部研究鮮少論及，目前對(duì)賀歲片的類(lèi)型研究缺乏較為全面的論據(jù)和充分的論證。鑒于此，本論文試圖從類(lèi)型電影的維度，對(duì)賀歲片進(jìn)行歷時(shí)和共時(shí)的研究。賀歲片的巨大影響和理論研究的缺陷決定了本論文研究的學(xué)術(shù)和實(shí)踐意義。 為避免賀歲片定義的混淆，本論文以“賀歲電影”來(lái)稱(chēng)謂類(lèi)型性的賀歲片，主要從以下三個(gè)方面開(kāi)展對(duì)賀歲片類(lèi)型意義上的研究。第一章主要探討賀歲電影的底層結(jié)構(gòu)，賀歲文化與電影賀歲的傳統(tǒng)，并論述賀歲文化如何向電影滲透形成賀歲電影，通過(guò)三個(gè)方面來(lái)闡述：“賀歲”的文化內(nèi)涵和特征；電影能夠賀歲的原因；電影賀歲的歷程。第二章主要對(duì)賀歲電影的類(lèi)型性進(jìn)行理論闡釋?zhuān)瑥亩㈩?lèi)型意義的賀歲電影，通過(guò)闡述類(lèi)型電影及類(lèi)型電影理論，找到類(lèi)型電影的根本——原型，在考察春節(jié)文化原型的基礎(chǔ)上，，進(jìn)而論述賀歲電影的類(lèi)型性特征，即在主題、人物、敘事、底色、視聽(tīng)形式等方面的類(lèi)型性。賀歲電影除了類(lèi)型性特征外，還有在題材、風(fēng)格、受眾等方面的文化特征。第三章通過(guò)論述賀歲電影在傳承民族文化、加深民族文化認(rèn)同、塑造國(guó)家形象、推進(jìn)電影產(chǎn)業(yè)化方面的重要作用，探討賀歲電影在建構(gòu)文化自覺(jué)中的價(jià)值與意義。
[Abstract]:In 1995, with the release of Jackie Chan's "Red Tomb" in the mainland, the concept of "New year's New year" was introduced into the mainland. In 1997, Party A and Party B, filmed by Feng Xiaogang, kicked off the exploration of the mainland New year Film. After seventeen years, the New year film has developed rapidly and has become one of the most characteristic film forms in China, not only the content form has been expanded, but also the box office has made great achievements. Since the 1990s, "watching the Spring Festival Gala on New year's TV and watching New year's movies" has become a habit of cultural consumption. However, the prosperity of the surface of the New year's Film cannot hide its internal crisis. This kind of crisis mainly comes from the definition of the New year film concept. For a long time, "typology" and "chronological theory" have been stuck in a stalemate. The uncertainty about the definition of New year movies and the confusion between New year films and New year films directly lead to confusion in film creation. All films released before and after the Spring Festival are named New year movies. The academic research is mainly about industrialization and social and historical criticism. The internal research of the New year film is seldom discussed. At present, the research on the types of the New year film lacks a more comprehensive argument and full proof. In view of this, this paper attempts to carry on the diachronic and synchronic research to the New year film from the dimension of the genre film. The great influence of the New year Film and the defects of theoretical research determine the academic and practical significance of this thesis. In order to avoid the confusion of the definition of New year's New year film, this paper refers to the New year's New year film as the type of New year's film, mainly from the following three aspects to carry out the research on the meaning of the New year's new year film. The first chapter mainly discusses the bottom structure of the New year film, the culture of the New year and the tradition of the film, and discusses how the New year culture permeates the film to form the New year film, and expounds the cultural connotation and characteristics of "New year's New year" through three aspects; The reason why the film can celebrate the New year; the course of the film's New year. The second chapter mainly explains the typology of the New year's New year film, and then establishes the new year's new year film of the type meaning. By expounding the type film and the type movie theory, we can find out the basic-prototype of the type movie. Based on the cultural archetypes of Spring Festival, this paper discusses the typological features of the New year's New year film, namely, the typology of theme, character, narrative, background color, audio-visual form and so on. In addition to the typological features, the New year film also has cultural characteristics in the subject matter, style, audience and so on. The third chapter discusses the important role of the New year film in inheriting the national culture, deepening the national cultural identity, shaping the national image and promoting the film industrialization, and probes into the value and significance of the New year's congratulatory film in the construction of cultural consciousness.
【學(xué)位授予單位】：貴州師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J905

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本文編號(hào)：2444665