【摘要】：發(fā)軔于18世紀(jì)60年代的生產(chǎn)方式的深刻變革，不僅僅改變了生產(chǎn)關(guān)系，也讓上層建筑隨之煥然一新。中國(guó)的現(xiàn)代文明之路起步較晚，時(shí)至今日，對(duì)中國(guó)的大眾而言，雖然在經(jīng)濟(jì)基礎(chǔ)方面的一只腳已經(jīng)邁入現(xiàn)代社會(huì)，但是與之相適應(yīng)的政治民主、文化審美等上層建筑的另一只腳則顯得有些拖沓�！翱ā痹谶@種尷尬的境地，一個(gè)民族對(duì)于現(xiàn)代性身份的深度焦慮作為整個(gè)民族的心理特征和時(shí)代精神越發(fā)明顯地暴露在其文化藝術(shù)當(dāng)中。 本文截取了這種身份焦慮的一種——對(duì)時(shí)尚的追求，，選擇其在一種藝術(shù)——電影中的表現(xiàn)，通過(guò)一個(gè)視角——美學(xué)，力求管中窺豹，從中國(guó)電影中運(yùn)用的時(shí)尚元素的美學(xué)審視中，給正在對(duì)時(shí)尚元素趨之若鶩的中國(guó)時(shí)尚電影以學(xué)理意義上的警示和指導(dǎo)，同時(shí)力求獲得中國(guó)現(xiàn)代化的一些啟迪。 文章前言部分介紹研究的緣起，通過(guò)電影《愛(ài)出色》中女主角對(duì)時(shí)尚的認(rèn)識(shí)，指出時(shí)尚是社會(huì)人的本能和救贖。現(xiàn)代人對(duì)于時(shí)尚的追求和苛責(zé)則到達(dá)了無(wú)以復(fù)加的地步，這些現(xiàn)象在當(dāng)今電影中有出色的表現(xiàn)。中國(guó)電影表現(xiàn)時(shí)尚尚處于簡(jiǎn)單模仿階段，不可避免地存在一些問(wèn)題，從而引出研究的重要性。 主體部分按照“是什么”、“為什么”、“應(yīng)該怎樣”的敘事邏輯對(duì)中國(guó)電影運(yùn)用時(shí)尚元素這一現(xiàn)象做美學(xué)探討。在基本概念闡述清楚以后，按照先深入剖析再試圖提出重新建構(gòu)的原則的順序發(fā)表個(gè)人主要觀點(diǎn)。 “時(shí)尚”是全文的一個(gè)核心概念和基礎(chǔ)概念，本文第一章從梳理時(shí)尚的發(fā)展史、研究史出發(fā)，在前人研究的基礎(chǔ)上，界定中國(guó)電影中的時(shí)尚元素的概念，明確研究范圍。在簡(jiǎn)要交代了中國(guó)電影中運(yùn)用時(shí)尚元素的歷史和現(xiàn)狀后，從經(jīng)濟(jì)繁榮、政治民主帶來(lái)的文化大發(fā)展以及當(dāng)前文化的視覺(jué)轉(zhuǎn)向的大背景出發(fā)，闡釋當(dāng)前中國(guó)電影中大量運(yùn)用時(shí)尚元素的原因。 文章第二章將采用精神分析、結(jié)構(gòu)主義、文化批評(píng)等理論范式對(duì)當(dāng)前中國(guó)電影中竭力營(yíng)造的時(shí)尚神話進(jìn)行全面剖析，分析時(shí)尚元素在中國(guó)電影中運(yùn)用能同時(shí)獲得觀眾、市場(chǎng)和主流話語(yǔ)肯定的敘事策略。在消費(fèi)社會(huì)中，電影制作者和廣告商通過(guò)大張旗鼓的造夢(mèng)工程和神話敘事，使得電影觀眾在美輪美奐的“擬像世界”里獲得身份確認(rèn)和心靈慰藉，在潤(rùn)物無(wú)聲地美好夢(mèng)幻中實(shí)現(xiàn)對(duì)電影觀眾的“引誘”、“規(guī)訓(xùn)”和“建構(gòu)”，不僅為電影制作者收回成本、為新片籌集資金和在競(jìng)爭(zhēng)中脫穎而出增加籌碼，也為廣告商培養(yǎng)了無(wú)數(shù)潛在客戶，為資本創(chuàng)造了廣闊的市場(chǎng)。 解構(gòu)是為了建構(gòu)，解構(gòu)之后，必然需要反思，同時(shí)還要為了建構(gòu)指明方向。文章的第三章就是在對(duì)中國(guó)電影中的時(shí)尚元素運(yùn)用全面解構(gòu)后的反思。本章分四個(gè)小節(jié)，依次指出中國(guó)電影運(yùn)用時(shí)尚元素時(shí)，在對(duì)于電影敘事、電影審美、時(shí)尚的文化品性的認(rèn)識(shí)、本土?xí)r尚文化的挖掘四個(gè)方面認(rèn)識(shí)上的狹隘和不足，并分別對(duì)癥下藥，指出中國(guó)電影時(shí)尚元素運(yùn)用應(yīng)該遵循的原則。 結(jié)語(yǔ)部分總結(jié)全篇，指出時(shí)尚元素在中國(guó)電影中的運(yùn)用是中國(guó)電影主動(dòng)接軌世界，謀求文化創(chuàng)新和電影視覺(jué)效果、敘事功能提升的手段，但是在運(yùn)用時(shí)尚元素的過(guò)程中，應(yīng)該批判時(shí)尚文化中對(duì)物的崇拜、對(duì)人的異化，希望中國(guó)電影的時(shí)尚文化發(fā)展中能夠做到費(fèi)孝通先生所倡導(dǎo)的“各美其美、美人之美、美美與共、天下大同”的文化自覺(jué)。
[Abstract]:The profound changes in the mode of production, which began in the 1860s, not only changed the relations of production, but also changed the superstructure. The road of modern civilization in China started relatively late. Today, for the Chinese people, although one foot in the economic foundation has entered the modern society, the political and civilian people have adapted to it. In this embarrassing situation, the deep anxiety of a nation about its modernity identity as the psychological characteristics of the whole nation and the spirit of the times is increasingly exposed in its culture and art.
This article intercepts one kind of identity Anxiety-The pursuit of fashion, chooses its performance in an art-film, tries to peep at the leopard through a visual angle-aesthetics, from the aesthetic examination of the fashion elements used in Chinese movies, and gives the Chinese fashion movies which are becoming more and more fashionable in the academic sense. Warning and guidance, at the same time, strive to get some enlightenment from China's modernization.
In the preface, the author introduces the origin of the study and points out that fashion is the instinct and salvation of the society through the heroine's understanding of fashion in the film "Love Excellence". The pursuit and harshness of fashion by modern people have reached an unprecedented level, and these phenomena are outstanding in today's films. Inevitably, there are some problems in the imitation stage, which leads to the importance of research.
According to the narrative logic of "what", "why" and "what should be", the main part makes an Aesthetic Discussion on the phenomenon that Chinese movies use fashionable elements. After explaining the basic concepts clearly, the author expresses his main views in the order of first in-depth analysis and then attempting to put forward the principle of reconstruction.
"Fashion" is one of the core concepts and basic concepts of the full text. The first chapter of this paper starts from combing the development history of fashion and studying history. On the basis of previous studies, it defines the concept of fashion elements in Chinese movies and defines the scope of research. Based on the background of the cultural development brought about by political democracy and the visual turn of current culture, this paper explains the reasons why fashion elements are widely used in Chinese movies.
In the second chapter, the author will use the theoretical paradigm of psychoanalysis, structuralism and cultural criticism to make a comprehensive analysis of the fashion myth in the current Chinese movies, and analyze the use of fashion elements in Chinese movies to obtain both audience, market and mainstream discourse affirmative narrative strategies. Through the fantasy project and the mythological narrative, Shang made the movie audience obtain the identity confirmation and the spiritual consolation in the magnificent "Imaginary World" and realized the "lure", "discipline" and "construction" to the movie audience in the silent and beautiful dream, not only for the film producers to recover costs, but also for the new film financing. And stand out in the competition to increase chips, but also for advertisers nurtured numerous potential customers, created a broad market for capital.
Deconstruction is to construct, after deconstruction, it is necessary to reflect, but also to construct a direction. The third chapter of the article is the use of a comprehensive deconstruction of the elements of fashion in Chinese movies after reflection. This chapter is divided into four sections, pointing out that the use of fashion elements in Chinese movies, in the film narrative, film aesthetics, fashion text. The understanding of chemicals and the excavation of local fashion culture are narrow and inadequate in four aspects. The paper also points out the principles that should be followed in the application of fashion elements in Chinese movies.
The conclusion part summarizes the whole article, pointing out that the application of fashion elements in Chinese movies is a means for Chinese movies to actively integrate with the world, seek cultural innovation and visual effects of movies, and enhance the narrative function. But in the process of using fashion elements, we should criticize the worship of things in fashion culture, alienate people, and hope the fashion of Chinese movies. In the development of culture, we can achieve the cultural consciousness of "each beauty has its own beauty, beauty, beauty and harmony, and the whole world is in harmony" advocated by Mr. Fei Xiaotong.
【學(xué)位授予單位】：聊城大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：J905

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本文編號(hào)：2177411