转型中国与新生代导演的创伤叙事

发布时间：2018-05-30 03:04

本文选题：转型中国 + 创伤　；参考：《陕西师范大学》2014年硕士论文

【摘要】：电影作为一种艺术形式,从其诞生初期就通过展现真实的、贴近生活的场景来引发人们的审美情趣和反映现实生活,中国电影自然也不例外,它的发展和国家的政治、经济、文化具有密切的关系。然而,改革开放以来,随着市场经济的确立,在商品经济的主导下,中国文化与市场结合,中国的商业电影取代了具有严肃启蒙意义的艺术电影；在主流意识形态的深刻影响下,高唱主旋律的电影也大行其道。而曾经被认为是中国电影希望的第五代电影导演在双重压力下也逐渐忘却了电影的记录本性和导演的人道主义关怀。与此同时,伴随着中国社会这一剧烈的转型,一批人被抛到社会结构之外,遭受着巨大的创伤。他们为中国社会的转型发展付出了沉重代价,而在电影银幕中,他们的历史并没有受到应有的重视,他们的命运也没有得到应有的关怀。值得庆幸的是,随着中国社会转型的不断深化,也随着新生代导演们日益长大成人,他们走出了个人化的叙事,开始用影像呈现社会转型给普通劳动者造成的创伤。因此,能够发现新生代导演对于社会底层遭受创伤的关注并且在当下从电影的角度研究转型中国与创伤叙事这一主题具有深刻的社会意义和价值。本文在前人研究的基础之上,精心选取几部代表性的影片,从国企下岗工人、农牧民和“农民工”三个方面进行分析,力求准确、全面地将新生代导演用镜头记录出的转型中国时期身处社会底层中的人们遭受的创伤体现出来。本文分为三大部分。论文的引言主要交代了写作本论文的意义和前人的研究成果。第二部分为正文,设有三个章节。第一章以经济体制改革下的工人阶级为对象,通过电影《桥》到《赤橙黄绿青蓝紫》再到《铁西区》、《二十四城记》以及《钢的琴》中工人工作热情和心理演变的分析,总结出工人身份的历史变迁,展现工人阶级在无比自豪的集体记忆和身处下层的切身体验的对比中所遭受的创伤。第二章从草原文化出发,通过《草原上的人们》、《牧马人》、《季风中的马》和《图雅的婚事》四部少数民族题材电影,从对草原文化高度认同的牧民的视角出发,分析了改革开放后中国社会进入转型期的牧民面对即将消失的生活方式的创伤体验。第三章以身处社会底层的“农民工”群体为对象,通过对他们现实处境的分析,选取《世界》、《扁担姑娘》和《十七岁的单车》这三部影片进行解读,挖掘出新生代导演用影像记录这一群体在融入城市的过程中所遭受的巨大创伤。最后一部分为结语。通过对上述各个部分的论述,总结出新生代导演对社会转型给底层群体带来创伤的记录和关注,展现了他们在复现创伤的同时,将创伤审美对象化,以期获得某种意义上的审美修复的艺术原则。因此可以看出,立足于现实,关注人性与人类存在的根本问题,具有人文关怀并形成独特风格的电影导演,其作品才具有长久的生命力和艺术性。
[Abstract]:As a form of art, the film, from the beginning of its birth, shows people's aesthetic interest and reflects the real life by showing the real and close to life. The Chinese film is naturally no exception. Its development is closely related to the political, economic and cultural relations of the country. However, since the reform and opening up, with the establishment of the market economy, Under the leadership of the commodity economy, Chinese culture and market combine with the market, Chinese commercial films have replaced the artistic film with serious enlightenment. Under the profound influence of the mainstream ideology, the films that sing the main theme are also the same. The fifth generation film directors, once thought to be the hope of Chinese films, have gradually been under double pressure. At the same time, with the dramatic transformation of Chinese society, a lot of people were thrown into the social structure and suffered huge trauma. They paid a heavy price for the transformation and development of Chinese society, and their history was not due to the TV screen. It is important to be thankful that with the deepening of Chinese social transformation and the growing adults of the new generation of directors, they have gone out of the individualized narrative and began to use images to present the trauma caused by social transformation to ordinary workers.
Therefore, it is of great social significance and value to find the attention of the new generation director on the traumas of the social underworld and to study the theme of transition China and trauma narration from the angle of the film. The three aspects of migrant workers are analyzed in order to accurately and comprehensively reflect the traumas recorded by the new generation director in the transitional period of China in the social bottom of the society.
This paper is divided into three parts. The introduction of the paper mainly accounts for the significance of writing this paper and previous research results.
The second part is the body and has three chapters. The first chapter, based on the working class under the reform of the economic system, analyzes the working enthusiasm and psychological evolution of the workers in the film < bridge > to "red orange, green and blue and blue purple >" to "Tiexi District >", "twenty-four city records >" and "steel qin >", and summarizes the historical changes of the worker's identity, showing the working class in it. The second chapter from the prairie culture, through the grassland culture, through the grasslands, the horse man, the horse in the monsoon and the wedding of the four ethnic minorities, analyzed the reform from the perspective of the herdsmen with the high recognition of the grassland culture. The herdsmen in the transition period of China's social transition face the traumatic experience of the way of life that is about to disappear. The third chapter is based on the "migrant workers" group at the bottom of the society. Through the analysis of their actual situation, the author selects the three films, such as the world > the bear girl > and the seventeen year old bike, and excavates the new generation of directors. Video records of the group's huge trauma in the process of integrating into the city.
The last part is the conclusion. Through the exposition of all the above parts, this paper summarizes the record and attention of the new generation director on the social transformation to the bottom group, and shows that the aesthetic objects of the trauma are objectified at the same time that they are reappearing the trauma, so as to obtain some artistic principles for the restoration of the beauty of a certain sense. In reality, the film directors with humanistic care and unique style are concerned with the fundamental problems of human nature and human existence, and their works have long vitality and artistry.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J911

【参考文献】