本文選題：盲　切入點(diǎn)：拆遷　出處：《上海師范大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：現(xiàn)實(shí)主義電影產(chǎn)生于20世紀(jì)初的歐洲,從最早卓別林的默片到英國(guó)的紀(jì)錄電影運(yùn)動(dòng)、法國(guó)的詩(shī)意現(xiàn)實(shí)主義、蘇聯(lián)的社會(huì)主義現(xiàn)實(shí)主義電影,到對(duì)后世影響最大的現(xiàn)實(shí)主義的高潮——意大利新現(xiàn)實(shí)主義以及60年代法國(guó)新浪潮,現(xiàn)實(shí)主義一直在注重展現(xiàn)社會(huì)現(xiàn)實(shí)問(wèn)題,表現(xiàn)人與人、自然、社會(huì)以及同自我內(nèi)心的矛盾。電影劇本《盲》從一個(gè)剛成年的輟學(xué)女孩視角講述了她在面對(duì)物質(zhì)與精神支柱的倒塌后如何撿拾起生活與夢(mèng)想的碎片,并且找尋到自我,努力生存下去的成長(zhǎng)故事。本劇也并非商業(yè)化的高概念劇本,而是偏小眾和藝術(shù)的現(xiàn)實(shí)主義題材,注重展現(xiàn)社會(huì)現(xiàn)實(shí)中的底層市井和人們稀松平常的生活狀態(tài),同時(shí)也夾帶有作者本人的私人回憶。在劇本的故事創(chuàng)作中我參考了亞洲的現(xiàn)實(shí)主義藝術(shù)電影以及歐洲一些超現(xiàn)實(shí)主義電影和詩(shī)電影,采用線性敘事手法,故事節(jié)奏偏慢,整體基調(diào)比較晦暗、平淡,注重以人物情緒推動(dòng)敘事,而在細(xì)節(jié)處理上設(shè)置了一些亮點(diǎn),比如選取合適道具和小情節(jié)使畫面和故事表現(xiàn)蒙上超現(xiàn)實(shí)的感覺(jué),使用閃回手法打亂敘事時(shí)空,補(bǔ)充故事與人物前史背景,使用隱喻給故事帶來(lái)詩(shī)意化的表現(xiàn)等。本文從電影編劇工作的角度,圍繞劇本的創(chuàng)作,從題目含義、創(chuàng)作背景、故事闡述、人物分析等方面進(jìn)行梳理,展示了劇本從故事情節(jié)到內(nèi)涵立意的全貌,并在此基礎(chǔ)上結(jié)合相關(guān)電影理論從時(shí)代背景、情緒推動(dòng)敘事、冷基調(diào)營(yíng)造以及人物精神世界的哲學(xué)表達(dá)上進(jìn)行故事母題的深入分析,最后對(duì)創(chuàng)作過(guò)程中存在的問(wèn)題及今后努力的方向提出分析思考。
[Abstract]:The realistic movie produced in early twentieth Century in Europe, from the earliest silent film Chaplin to record the movement of British and French poetic realism, socialist realism of the film to the climax of the Soviet Union, the biggest realistic impact on future generations -- Italy new realism and the 60s French new wave of realism has been on show society the real problem, show people, nature, and social contradictions with the inner self. < script > blind from an adult just out of school girls perspective about her in the collapse of the material and the spiritual pillar of the face of how to pick up the pieces of life and dream, and to find themselves, to survive the growth story this is not high. The concept of the script of commercialization, but partial niche and artistic realism, to show the social reality of the ordinary people and not flat Often life, also clip with author private memories I. In the script of the story of creation in my reference to Asian realism art film and some European surrealist film and film poetry, the linear narrative, the story rhythm Pianman, whole tone relatively dull, dull, pay attention to promote the narrative characters emotions some of the highlights, and set the details of the deal, such as selecting the appropriate props and small plot of the picture and story by Shangchao reality, using flashback technique upset the story and the characters of narrative time, history background, the use of metaphor brings the poetic expression to the story. This work from the screenwriter's point of view, around the script creation, from the topic meaning, creation background, story, character analysis and so on to sort out, show the script from the story to the connotation of conception of the picture, and on this basis Based on the related movie theory, this paper analyzes the story motif from the background of the times, the emotion promoting narrative, the cold basis construction and the Philosophical Expression of the spiritual world of the characters. Finally, it puts forward the analysis and thinking of the problems in the process of creation and the direction of future efforts.

【學(xué)位授予單位】：上海師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：I207.351

【參考文獻(xiàn)】

相關(guān)期刊論文 前4條

1 李楠;;是枝裕和電影作品的東方式表達(dá)[J];北方傳媒研究;2016年06期

2 呼東方;;顏歌和她的“平樂(lè)鎮(zhèn)”[J];新西部;2015年12期

3 蘇凌子;;臺(tái)灣電影新浪潮故事背景的探究及分析[J];四川戲劇;2011年04期

4 高明;;淺析現(xiàn)實(shí)主義電影與類型電影[J];大舞臺(tái);2011年04期

相關(guān)碩士學(xué)位論文 前2條

1 吳敏;李滄東電影作品的詩(shī)性研究[D];西南大學(xué);2013年

2 樊碧博;存在：李滄東的出發(fā)與歸宿[D];南京師范大學(xué);2012年

，

本文編號(hào)：1559375