20世紀(jì)90年代中國電影中的北京城市形象
發(fā)布時間：2019-02-27 08:35
【摘要】：電影對于城市并不是簡單的復(fù)制再現(xiàn),而是影片創(chuàng)作者在對城市的認(rèn)識與想象的基礎(chǔ)上,加上自己的記憶和生活體驗,通過對城市中人物和環(huán)境的敘述,展現(xiàn)出城市的想象圖景。北京作為“鄉(xiāng)土中國”的代表,是一座被歷史賦予了獨特氣質(zhì)和綿延的精神品質(zhì)的城市,它強(qiáng)大的文化魅力感染和影響著無數(shù)居住在這里的人們。北京是由無數(shù)人的生活經(jīng)驗層層疊積起來的,隨著時間的變遷慢慢地轉(zhuǎn)化為獨有的文化魅力。20世紀(jì)90年代中國經(jīng)濟(jì)高速發(fā)展,改革開放取得了豐碩的成果,進(jìn)入了社會轉(zhuǎn)型的“加速期”,而中國電影的城市空間也開始發(fā)生轉(zhuǎn)向。社會的改革使城市發(fā)生了翻天覆地的變化,作為中國的首都北京更是如此。于是,北京城市空間出現(xiàn)了傳統(tǒng)性與現(xiàn)代性并置的兩種空間,正是這兩種截然不同的城市景觀呈現(xiàn)出了時間與歷史的綿延性。電影中描寫的北京雖然是“現(xiàn)實題材”中的北京,但是電影創(chuàng)作者所用的塑造手法卻是不同的,用不同的手法書寫出不同的北京形象。第一章主要分析了北京在電影中作為傳統(tǒng)的文化古都的形象建構(gòu)。四合院和胡同不僅是北京這座古老城市歷史的紀(jì)錄者,還是中國傳統(tǒng)文化的載體。放眼望去世紀(jì)末的懷舊情緒高漲,電影創(chuàng)作者們把對過去的老北京城的記憶加上自己的想象進(jìn)行重構(gòu),成為了具有豐富的歷史和個人想象的北京記憶。第二章主要分析了在社會改革、現(xiàn)代化進(jìn)程加速中,北京作為首善之區(qū)向現(xiàn)代化城市邁進(jìn)形成一幅“流動式繪圖”,城市的現(xiàn)代化發(fā)展在給人們帶來先進(jìn)的物質(zhì)文明的同時,也帶來了文化震驚和彷徨焦慮。第三章主要分析了在全球化浪潮之下,北京傳統(tǒng)文化與外來文化之間的相互影響,使得北京變成了一座被賦予全球化想象的城市,同時也奠定了21世紀(jì)初期北京作為國際新城的想象與建構(gòu)。本文主要分析了20世紀(jì)90年代中國電影中的北京城市,旨在于以此來折射出電影作為一種藝術(shù)門類與現(xiàn)實城市空間之間、與社會文化之間的想象與互動關(guān)系。以及試圖通過在特殊時期中,電影創(chuàng)作者們眼中不同的北京城市形象來揭示出城市與電影之間復(fù)雜微妙的關(guān)系。
[Abstract]:The film is not a simple reproduction of the city, but a film creator based on the understanding and imagination of the city, together with his own memory and life experience, through the description of the characters and environment in the city, Show the imagination of the city. As the representative of "Native China", Beijing is a city which has been endowed with unique temperament and continuous spiritual quality by history. Its powerful cultural charm infects and affects countless people who live here. Beijing has been accumulated from countless people's life experiences, and gradually transformed into unique cultural charm with the change of time. In the 1990s, China's economy developed at a high speed, and reform and opening-up achieved fruitful results. Entered the "acceleration period" of social transformation, and the urban space of Chinese films also began to turn. Social reforms have revolutionized cities, especially Beijing, China's capital. Therefore, Beijing's urban space has two kinds of spaces, which are traditional and modern. It is these two distinct urban landscapes that show the continuity of time and history. Although the Beijing described in the film is Beijing in the "realistic theme", the film creators use different molding techniques, using different techniques to write different images of Beijing. The first chapter mainly analyzes the image construction of Beijing as a traditional cultural capital in movies. Siheyuan and hutong are not only the record of the ancient city of Beijing, but also the carrier of Chinese traditional culture. Looking at the nostalgia of the end of the century, film creators reconstructed the memory of the old city of Beijing and their imagination into a memory of Beijing with rich history and personal imagination. The second chapter mainly analyzes that in the process of social reform and the acceleration of modernization process, Beijing, as the first good area, stride towards a modern city and form a "mobile drawing". The modernization of the city brings advanced material civilization to people at the same time. It also brings cultural shock and anxiety. The third chapter mainly analyzes the interaction between Beijing's traditional culture and foreign culture under the tide of globalization, which makes Beijing a city endowed with the imagination of globalization. At the same time, it also laid the imagination and construction of Beijing as an international new city in the early 21 ~ (st) century. This paper mainly analyzes the Beijing city in Chinese films in the 1990s in order to reflect the imagination and interaction between film as an art category and real city space and social culture. And try to reveal the complex and subtle relationship between the city and the film through the different image of the city in the eyes of the film creators during the special period.
【學(xué)位授予單位】：四川師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J905
本文編號：2431289
[Abstract]:The film is not a simple reproduction of the city, but a film creator based on the understanding and imagination of the city, together with his own memory and life experience, through the description of the characters and environment in the city, Show the imagination of the city. As the representative of "Native China", Beijing is a city which has been endowed with unique temperament and continuous spiritual quality by history. Its powerful cultural charm infects and affects countless people who live here. Beijing has been accumulated from countless people's life experiences, and gradually transformed into unique cultural charm with the change of time. In the 1990s, China's economy developed at a high speed, and reform and opening-up achieved fruitful results. Entered the "acceleration period" of social transformation, and the urban space of Chinese films also began to turn. Social reforms have revolutionized cities, especially Beijing, China's capital. Therefore, Beijing's urban space has two kinds of spaces, which are traditional and modern. It is these two distinct urban landscapes that show the continuity of time and history. Although the Beijing described in the film is Beijing in the "realistic theme", the film creators use different molding techniques, using different techniques to write different images of Beijing. The first chapter mainly analyzes the image construction of Beijing as a traditional cultural capital in movies. Siheyuan and hutong are not only the record of the ancient city of Beijing, but also the carrier of Chinese traditional culture. Looking at the nostalgia of the end of the century, film creators reconstructed the memory of the old city of Beijing and their imagination into a memory of Beijing with rich history and personal imagination. The second chapter mainly analyzes that in the process of social reform and the acceleration of modernization process, Beijing, as the first good area, stride towards a modern city and form a "mobile drawing". The modernization of the city brings advanced material civilization to people at the same time. It also brings cultural shock and anxiety. The third chapter mainly analyzes the interaction between Beijing's traditional culture and foreign culture under the tide of globalization, which makes Beijing a city endowed with the imagination of globalization. At the same time, it also laid the imagination and construction of Beijing as an international new city in the early 21 ~ (st) century. This paper mainly analyzes the Beijing city in Chinese films in the 1990s in order to reflect the imagination and interaction between film as an art category and real city space and social culture. And try to reveal the complex and subtle relationship between the city and the film through the different image of the city in the eyes of the film creators during the special period.
【學(xué)位授予單位】：四川師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J905
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