【摘要】：香港在1986年，就放映了盧米埃爾兄弟的《工廠大門》、《火車進(jìn)站時》、《水澆園丁》等影片。2年后，美國的愛迪生公司派出了攝影師到香港，，拍攝了包括《香港總督府》、《香港街景》等表現(xiàn)香港民土風(fēng)情的紀(jì)錄片。之后，香港人開始嘗試自己拍攝電影。在20世紀(jì)70年代，香港電影走向世界的莫非李小龍的硬功夫電影。在香港，曾有諸多曾經(jīng)幫助香港電影走向世紀(jì)的世界級大師，香港發(fā)達(dá)的電影工業(yè)，為其培養(yǎng)了技藝超群的電影工作者，這其中就包括那些技藝精湛的在熒幕上靈動表現(xiàn)電影人物的演員。而最具帶表性的可以說是，90年代的“雙周一成”，時至今日，他們依然在發(fā)揮著余熱。這其中本主要研究“雙周”中的周星馳。作為一個演而優(yōu)則導(dǎo)的電影工作者，他給香港喜劇電影帶來了新的風(fēng)格，即無厘頭。 關(guān)于“無厘頭”的解釋目前最多的是：沒有由來，無目的，無由來，無邏輯，讓人難以理解的意思。因?yàn)橹苄邱Y喜劇電影表現(xiàn)方式和技巧與“無厘頭”的深層含義有相似之處，所以人們以“無厘頭”來形容他的風(fēng)格，周星馳的電影被定義為“無厘頭”電影，周星馳也因此成為“無厘頭”的代言人。 無厘頭最為火爆的年代在90年代初期，《賭神》、《唐伯虎點(diǎn)秋香》、《鹿鼎記》、《算死草》等電影當(dāng)年都獲得了超高的票房。但是在97之后，香港電影整體似乎是失去了方向，找不到自己的文化以及藝術(shù)定位。 但是周星馳，依然還在堅(jiān)守，且似乎越做越好了。單就今年的《西游降魔篇》來看。高居上半年國產(chǎn)電影票房之首，就足見周星馳的號召力。更不用提之前的《功夫》的譽(yù)滿全球和《長江七號》的熱映。我們依然能看到“無厘頭”中周星馳的創(chuàng)新，以及其電影的包容性和娛樂性，且市場依然在接受著“無厘頭”。 因此說，無厘頭的生命力還是存在的，尤其是在經(jīng)歷了十幾年的發(fā)展變化之后，它完全可以在影片中通過與其他藝術(shù)形式的有機(jī)排列組合使電影獲得勃勃生機(jī)。我們應(yīng)該對無厘頭予以重視和保護(hù)，對于電影發(fā)展的藝術(shù)形式而言它的存在將是有利無害的。
[Abstract]:In 1986, Hong Kong showed films such as "Factory Gate", "when the Train entered the Station" and "watered gardener" by the Lumiel brothers. Two years later, the Edison Company of the United States sent photographers to Hong Kong to shoot, including the Government House of Hong Kong. Hong Kong Street View and other documentaries showing the local customs of Hong Kong. After that, the people of Hong Kong began to try to make their own movies. In the 1970 s, Hong Kong films went to the world without Li Xiaolong's hard kung fu films. In Hong Kong, there have been many world-class masters who have helped Hong Kong films enter the century, and the developed film industry in Hong Kong has trained skilled filmmakers for them. This includes skilled actors who vividly represent film characters on the screen. And the most apparent, the 90 s "biweekly 10%," today, they are still playing waste heat. Among them, this paper mainly studies Zhou Xingchi in Biweekly. As an excellent and directed filmmaker, he has brought a new style to Hong Kong comedy films, that is, nonsense. At present, the explanation of "Wulitou" is that there is no reason, no purpose, no reason, no logic, which is difficult to understand. Because Zhou Xingchi's comedy film has similarities in expression and skill with the deep meaning of "Wulitou", people describe his style as "Wulitou". Zhou Xingchi's film is defined as "Wulitou" film. As a result, Zhou Xingchi became the spokesman for Wulitou. Wulitou's most popular era in the early 1990s, "God of gamblers", "Tang Bohu Qiuxiang", "The Deer and the Cauldron", "calculate the dead grass" and other films all won super high box office in that year. But after 97, Hong Kong films as a whole seemed to have lost their direction and could not find their own cultural and artistic positioning. But Zhou Xingchi, still sticking to it, seems to be doing better and better. Just look at this year's "Journey to the West". High in the first half of the box office of domestic films, enough to see the appeal of Zhou Xingchi. Not to mention the previous reputation of Kung Fu and the popularity of the Yangtze River 7. We can still see Zhou Xingchi's innovation in Wulitou, as well as the inclusiveness and entertainment of his films, and the market is still accepting Wulitou. Therefore, the vitality of Wulitou still exists, especially after more than ten years of development and change, it can make the film alive through organic arrangement and combination with other forms of art. We should attach importance to and protect Wulitou, and its existence will be beneficial and harmless for the artistic form of film development.
【學(xué)位授予單位】：河北大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J905

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