本文選題：中國(guó)犯罪片　切入點(diǎn)：類型電影　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】：論文主要是圍繞當(dāng)代中國(guó)大陸地區(qū)犯罪片的人物塑造展開(kāi)的,犯罪片是近一兩年來(lái)大陸地區(qū)逐漸興起的一種電影類型,其通過(guò)展現(xiàn)犯罪代理者的生活,去表達(dá)人與人,人與社會(huì)之間的的沖突關(guān)系。犯罪類型片起源于好萊塢,受電影技術(shù)的發(fā)展與社會(huì)經(jīng)濟(jì)政治因素的影響,犯罪類型片的敘事風(fēng)格與人物塑造不斷被完善。隨著審查制度的相對(duì)放寬,市場(chǎng)商業(yè)的自主選擇,越來(lái)越多的電影創(chuàng)作者開(kāi)始關(guān)注犯罪題材,并拍攝犯罪類型片。研究發(fā)現(xiàn),中國(guó)大陸犯罪類型片的人物塑造具有一定的中國(guó)特色,這些特色有別于其他文化語(yǔ)境下的犯罪代替者本文第一章訴說(shuō)論文研究的緣起,簡(jiǎn)要描述犯罪片人物研究的現(xiàn)狀,從中發(fā)現(xiàn)中國(guó)大陸犯罪片有復(fù)蘇之勢(shì),但針對(duì)犯罪片的研究卻少之又少。提出運(yùn)用文獻(xiàn)資料分析法,案例研究法,比較分析法等方法對(duì)犯罪片人物形象進(jìn)行研究。希望通過(guò)研究,可以找尋出具有中國(guó)特色的犯罪片人物創(chuàng)作方法與途徑。本文第二章主要研究犯罪片在全球范圍內(nèi)以及在中國(guó)大陸范圍內(nèi)的發(fā)展歷程。本文第三章主要從犯罪者,執(zhí)法者,受害人三個(gè)角度去逐一分析中國(guó)大陸地區(qū)犯罪片任務(wù)的類型特色與敘事功能。本文第四章主要從東方傳統(tǒng)文化,社會(huì)語(yǔ)境,市場(chǎng)導(dǎo)向,國(guó)際國(guó)內(nèi)交流等方面去剖析中國(guó)大陸犯罪片的形成機(jī)制與文化內(nèi)核。第五章簡(jiǎn)要分析好萊塢,日韓,香港等國(guó)家地區(qū)的犯罪人物特點(diǎn),本尋找中國(guó)大陸犯罪片人物塑造缺失的部分。第六章找出中國(guó)大陸犯罪片人物塑造的問(wèn)題根源,并作出展望。論文借助結(jié)構(gòu)主義敘事學(xué),電影視聽(tīng)語(yǔ)言,影視藝術(shù)等理論著重分析當(dāng)代中國(guó)大陸地區(qū)犯罪片的人物形象:探究犯罪類型片在世界范圍內(nèi),以及在中國(guó)的產(chǎn)生和發(fā)展;分類討論不同犯罪代理者的不同形態(tài);研究中國(guó)特色犯罪代理者形成的文化背景,形成機(jī)制;將不同文化語(yǔ)境的犯罪人物與中國(guó)的犯罪人物相比較;得出在國(guó)際環(huán)境的競(jìng)爭(zhēng)中,中國(guó)犯罪片該如何自處的結(jié)論。當(dāng)然,中國(guó)大陸地區(qū)犯罪片依然面臨著審查制度與商業(yè)運(yùn)作的雙重夾擊,在人物塑造上顯現(xiàn)出了許多問(wèn)題。但不可否認(rèn)的是,中國(guó)電影創(chuàng)作者們?cè)诓粩嗟拿髋c嘗試,并已經(jīng)取得了一定的成績(jī)。相信在不久的將來(lái),中國(guó)犯罪片一定可以平衡一切因素,找到自己的出路。
[Abstract]:The thesis mainly focuses on the characterization of crime films in the mainland of China. Crime films are a kind of film type that has gradually emerged in mainland China in the past one or two years. It expresses people and people by showing the life of criminal agents. The conflict relationship between people and society. Crime type films originated in Hollywood, influenced by the development of film technology and social, economic and political factors. With the relative relaxation of censorship system and the independent choice of market commerce, more and more movie creators begin to pay attention to crime themes and shoot crime genre films. The characterization of the crime genre films in mainland China has some Chinese characteristics, which are different from those of other cultural substitutes. The first chapter of this paper describes the origin of the research, and briefly describes the current situation of the study of the characters of the crime films. It is found that criminal films in mainland China are recovering, but the research on crime films is rare. It is proposed to use the method of literature analysis and case study. Comparative analysis and other methods are used to study the characters of crime films. The second chapter mainly studies the development of crime film in the global scope and in the mainland of China. The third chapter of this paper mainly focuses on the offenders, law enforcers, The victims analyze the types and narrative functions of crime film missions in mainland China one by one from three angles. Chapter 4th focuses on oriental traditional culture, social context and market orientation. International and domestic exchanges to analyze the formation mechanism and cultural core of criminal films in mainland China. Chapter 5th briefly analyzes the characteristics of criminal figures in Hollywood, Japan, South Korea, Hong Kong and other countries. This article looks for the missing part of the Chinese mainland crime film character shaping. Chapter 6th finds out the root cause of the Chinese mainland crime film character shaping problem, and makes the prospect. The paper uses the structuralism narratology, the movie audio-visual language, The theories of film, television and art focus on analyzing the characters of the crime films in the mainland of China: exploring the emergence and development of the crime types in the world and in China, discussing the different forms of different criminal agents in different categories; To study the cultural background and formation mechanism of criminal agents with Chinese characteristics; to compare criminal figures in different cultural contexts with Chinese criminal figures; to draw the conclusion that Chinese crime films should deal with themselves in the competition of international environment. Of course, Criminal films in mainland China still face the double attack of censorship and commercial operation, and there are many problems in character shaping. But there is no denying that Chinese film creators are constantly groping and trying. It is believed that in the near future, Chinese crime films will balance all factors and find their own way out.
【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)】：J905

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本文編號(hào)：1635504