论湘西影视剧的地域文化表征

发布时间：2018-06-20 20:25

本文选题：湘西 + 湘西影视　；参考：《西南交通大学》2014年硕士论文

【摘要】：本文以有关于湘西地域的剿匪历史、少数民族风情、沈从文文学作品、革命抗战等为创作素材的影视剧,如《乌龙山剿匪记》、《边城》、《血色湘西》等等为研究对象,对其表现出来的独特文化进行梳理,提炼出“方言特色”、“人物个性”、“风土民情”、“巫楚文化”四个方面来分析影视剧对本土文化的表征情况。文章主要分为五章：第一章是绪论,阐述了研究背景、现实意义和研究方法,以及研究成果不多、不够系统的现状；第二章描述了方言俚语和山曲歌谣经过筛选后,以精华之资出现在影视剧中,其中让全国人民都听懂“逮”字也算功劳一件了；第三章研究人物形象塑造上被束缚的原因：是文化视角差异下形成了刻板印象,战士、土匪、少女、巫师等是常见的湘西荧幕角色,并夸张其性格和命运来取悦受众；第四章肯定了独特民俗和红色历史经验是本土文化表征到影视剧中最多的元素,还原式地展现历史；第五章所诉的巫楚文化是湘西文化的的精髓,但是通常只以宗教仪式活动的形态表征出来,稍显简单粗糙了,融入精神思想层次的作品甚少。每一章都在描绘如何表征本土文化之后,分析其值得肯定的地方和有待改进之处。湘西文化在全球化进程中一直处于他者想象与自我叙事的博弈之中,影像表征出的丰富性、迷误性、模糊性让笔者尝试探讨造成诸多表达与本土文化的有出入并相互影响的现状。得出结论：湘西影视剧中的文化表征存在更多的丰富性、自由性,凭借想象与艺术感觉进行影像建构,造成与客观真实之间更多的不同。追求生命张力与家乡魅力的同时,对湘西历史进程中本土文化被同质化、缺失化而反思。当然,无论是虚构还是客观展示,都不可免于掺杂对湘西文化的“祛魅”与“返魅”。影视剧成为人们了解不熟悉地域的重要途径,湘西本土文化借助影视介质得到了较好的记录、传承、保护和推广,同时在市场经济下影视商业化、消费娱乐化的语境中,地域文化参与影视剧能够丰富其内涵,对湘西影视剧乃至中国影视的发展起到一定的积极作用。
[Abstract]:This paper focuses on films and TV dramas with materials of bandit suppression in western Hunan, customs of ethnic minorities, Shen Congwen literature, revolutionary war against Japan, etc., such as Oolong Mountain bandit suppression, Border City, Western Hunan Bloody, and so on. By combing its unique culture, it abstracts out "dialect characteristics", "personality of characters", "local feelings" and "Wichu culture" to analyze the representation of local culture in film and TV drama. The article is divided into five chapters: the first chapter is the introduction, which describes the research background, practical significance and research methods, as well as the research results are not much, not systematic status; the second chapter describes the dialect slang and mountain ballads after screening, The essence of the money appeared in the film and television drama, in which the whole nation understood the word "arrest" also counted as a contribution; chapter three studies the reasons for the shackles in the portrayal of the characters: it is the stereotype formed under the differences of cultural perspective, soldiers and bandits. Teenage girls, wizards and so on are common screen characters in western Hunan, and exaggerate their character and fate to please the audience. Chapter four affirms that unique folk customs and red historical experience are the most important elements of local culture in movies and TV dramas, showing history in a restoring way. The fifth chapter is the essence of Xiangxi culture, but it is usually represented only by the form of religious ritual activities. Each chapter describes how to characterize local culture, and analyzes its positive aspects and areas for improvement. Xiangxi culture has always been in the game of imagination and self-narration in the process of globalization. Fuzziness makes the author try to explore the current situation that many expressions are different from the native culture and influence each other. The conclusion is that there are more richness and freedom in the cultural representation of Xiangxi film and TV drama, and the image is constructed by imagination and artistic feeling, resulting in more differences between objective reality and imagination. While pursuing the life tension and the charm of hometown, we reflect on the homogenization and absence of local culture in the historical process of Xiangxi. Of course, neither fiction nor objective display is immune from the disenchantment and reenchantment of Xiangxi culture. Film and TV play has become an important way for people to understand unfamiliar regions. The native culture of Xiangxi has been better recorded, inherited, protected and promoted with the help of film and television media, and at the same time in the context of commercialization of film and television and consumption and entertainment under the market economy, The participation of regional culture in film and TV drama can enrich its connotation and play a positive role in the development of Xiangxi film and TV drama and even Chinese film and television.
【学位授予单位】：西南交通大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905;G127

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