新时期香港电影探析
发布时间：2018-11-08 13:07
【摘要】：香港电影是有些人的童年记忆，是有些人的青春碎片，那些老港片镌刻了无数人的集体回忆，散落在一代代人的成长历程中，电影中的明星常常是我们少年时的偶像，电影中的元素经常成为时尚界的流行指标，经典对白常常成为大众的流行语。虽然香港电影的类型与题材包罗万象，但都秉承着“娱乐至死”的癫狂理念，敢于放浪形骸，以嬉笑怒骂的方式针砭时弊。在香港相对自由的创作环境下，产生了一批极富个人魅力的导演与演员，从张彻、胡金铨到徐克、杜琪峰，从邓永祥、陈宝珠到张国荣、林青霞，香港电影的风采跨越了半个多世纪。不仅华人爱看港片，面对强劲的好莱坞大片，顶峰时期的香港电影仍有抗衡之力，许多电影批评家与理论家例如大卫·波德维尔等都专门对香港电影做了大量研究。 可惜时至90年代后期，亚洲经济危机及周边民族电影的崛起使香港电影的市场迅速缩水，香港电影逐渐走上了下坡路，作品数量大幅度下降，票房锐减，电影公司纷纷倒闭，产业资金流向房地产等其他行业，这一时期虽不乏经典作品，但香港电影的整体水平已经不如从前，大牌明星转而投身于好莱坞寻求发展，使得整个香港电影界都处在低迷状态徘徊。到了新时期也就是2003年，香港电影开始完成自身角色的转变，呈现出集体向内地回归的趋势。新时期的电影政策、产业模式、创作风格以及与内地的合作地位都发生了一系列转变，集体北上的香港导演意欲征服内地这片沃土，却遭遇了种种关卡与障碍，历史政治环境的不同导致两地意识形态有所差异，观众的审美取向与品味也不在一条水平线上，内地审查制度的不健全使香港影人一直缺乏最有效的保障，极力融入内地的意愿也使香港电影的港味变了些许味道。 我国的电影批评家们对香港电影的研究甚多，但还未对最近十年的香港电影做一个系统的理论研究。目前存在的大多只是针对其中的一个方面，例如政策、合作方式、产业体系等，也没有论证这些方面之间的联系。论文分为五章，第一章：运用文献调研的方式，，叙述从2003年到2013年这十年来香港电影的概况，首先对新时期的研究范围做了界定，然后从文化、历史的角度论述香港电影的人文背景及发展脉络，再从体制、电影符号的变更等角度来分析新时期与前期的不同；第二章：通过个案与类比的研究方法，论述新时期香港电影的尴尬现状并探析这些问题出现的社会原因与个人原因；第三章：通过对经典案例的分析着重探讨了新时期香港电影的形式特质；第四章：运用案例分析法结合具体导演探讨香港电影不同类型的美学新意义；第五章：最后根据香港影人遭遇的困境给出一些浅薄的意见，展望一下香港电影的将来。
[Abstract]:Hong Kong films are the childhood memories of some people and the youth fragments of some people. Those old Hong Kong films are engraved with the collective memories of countless people, scattered throughout the growing up of generations of people. The stars in the films are often idols of our youth. Movie elements often become popular indicators of fashion, classic dialogue often become popular words. Although the types and themes of Hong Kong films are all inclusive, they all bear the crazy idea of "entertainment to death" and dare to express their views and criticize the current situation in a manner of frolicking and exasperation. In Hong Kong's relatively free creative environment, a group of highly attractive directors and actors have emerged, from Zhang Chou, Hu Jinquan to Tsui, to Qifeng, from Deng Yongxiang, Chen Baozhu to Zhang Guorong, Lin Qingxia, The style of Hong Kong films has spanned more than half a century. Not only do Chinese like to watch Hong Kong films, but in the face of strong Hollywood blockbusters, Hong Kong films at their peak still have a counterweight. Many film critics and theorists, such as David Bodwell, have done a lot of research on Hong Kong films. Unfortunately, by the late 1990s, the Asian economic crisis and the rise of national films in the surrounding countries had caused the Hong Kong film market to shrink rapidly. Hong Kong films gradually went downhill, the number of works fell sharply, the box office fell sharply, and the film companies closed down one after another. Industrial capital flows to other industries, such as real estate. Although there were no shortage of classic works during this period, the overall level of Hong Kong films was not as good as before, and the big stars turned to Hollywood in search of development. The whole Hong Kong film industry is in a doldrums. In the new era, 2003, Hong Kong films began to complete their own role changes, showing a collective return to the mainland trend. A series of changes have taken place in the film policy, industrial model, creative style and cooperative status with the mainland in the new era. The Hong Kong directors who collectively headed northward wanted to conquer the fertile land of the mainland, but encountered all kinds of obstacles and obstacles. The differences in historical and political environments have led to differences in ideology between the two places, and the aesthetic orientation and taste of the audience are not on the same level. The imperfect censorship system in the mainland has left Hong Kong filmmakers without the most effective protection. The desire to integrate into the mainland has also made Hong Kong films taste a little different. There are a lot of studies on Hong Kong films in China, but not a systematic theoretical study of Hong Kong films in the last ten years. At present, most of them only focus on one aspect, such as policy, cooperation mode, industrial system and so on, and do not demonstrate the connection between these aspects. The thesis is divided into five chapters. The first chapter: by using the method of literature research, the paper describes the general situation of Hong Kong films from 2003 to 2013. Firstly, it defines the scope of research in the new period, and then from the perspective of culture. From the historical point of view, this paper discusses the humanistic background and development context of Hong Kong film, and then analyzes the differences between the new period and the earlier period from the perspective of the system and the change of film symbols. The second chapter: through the case and the analogy research method, discusses the awkward present situation of the Hong Kong film in the new period, and analyzes the social reason and the personal reason of these problems; Chapter three: through the analysis of the classic cases, the author focuses on the formal characteristics of Hong Kong films in the new period, and discusses the new aesthetic significance of different types of Hong Kong films by using the case analysis method combined with the specific directors. Chapter 5: finally, according to the plight of Hong Kong filmmakers, give some shallow opinions, and look forward to the future of Hong Kong films.
【学位授予单位】：曲阜师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905;J943
本文编号：2318592
[Abstract]:Hong Kong films are the childhood memories of some people and the youth fragments of some people. Those old Hong Kong films are engraved with the collective memories of countless people, scattered throughout the growing up of generations of people. The stars in the films are often idols of our youth. Movie elements often become popular indicators of fashion, classic dialogue often become popular words. Although the types and themes of Hong Kong films are all inclusive, they all bear the crazy idea of "entertainment to death" and dare to express their views and criticize the current situation in a manner of frolicking and exasperation. In Hong Kong's relatively free creative environment, a group of highly attractive directors and actors have emerged, from Zhang Chou, Hu Jinquan to Tsui, to Qifeng, from Deng Yongxiang, Chen Baozhu to Zhang Guorong, Lin Qingxia, The style of Hong Kong films has spanned more than half a century. Not only do Chinese like to watch Hong Kong films, but in the face of strong Hollywood blockbusters, Hong Kong films at their peak still have a counterweight. Many film critics and theorists, such as David Bodwell, have done a lot of research on Hong Kong films. Unfortunately, by the late 1990s, the Asian economic crisis and the rise of national films in the surrounding countries had caused the Hong Kong film market to shrink rapidly. Hong Kong films gradually went downhill, the number of works fell sharply, the box office fell sharply, and the film companies closed down one after another. Industrial capital flows to other industries, such as real estate. Although there were no shortage of classic works during this period, the overall level of Hong Kong films was not as good as before, and the big stars turned to Hollywood in search of development. The whole Hong Kong film industry is in a doldrums. In the new era, 2003, Hong Kong films began to complete their own role changes, showing a collective return to the mainland trend. A series of changes have taken place in the film policy, industrial model, creative style and cooperative status with the mainland in the new era. The Hong Kong directors who collectively headed northward wanted to conquer the fertile land of the mainland, but encountered all kinds of obstacles and obstacles. The differences in historical and political environments have led to differences in ideology between the two places, and the aesthetic orientation and taste of the audience are not on the same level. The imperfect censorship system in the mainland has left Hong Kong filmmakers without the most effective protection. The desire to integrate into the mainland has also made Hong Kong films taste a little different. There are a lot of studies on Hong Kong films in China, but not a systematic theoretical study of Hong Kong films in the last ten years. At present, most of them only focus on one aspect, such as policy, cooperation mode, industrial system and so on, and do not demonstrate the connection between these aspects. The thesis is divided into five chapters. The first chapter: by using the method of literature research, the paper describes the general situation of Hong Kong films from 2003 to 2013. Firstly, it defines the scope of research in the new period, and then from the perspective of culture. From the historical point of view, this paper discusses the humanistic background and development context of Hong Kong film, and then analyzes the differences between the new period and the earlier period from the perspective of the system and the change of film symbols. The second chapter: through the case and the analogy research method, discusses the awkward present situation of the Hong Kong film in the new period, and analyzes the social reason and the personal reason of these problems; Chapter three: through the analysis of the classic cases, the author focuses on the formal characteristics of Hong Kong films in the new period, and discusses the new aesthetic significance of different types of Hong Kong films by using the case analysis method combined with the specific directors. Chapter 5: finally, according to the plight of Hong Kong filmmakers, give some shallow opinions, and look forward to the future of Hong Kong films.
【学位授予单位】：曲阜师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905;J943
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