中国当代电影的叙事伦理研究

发布时间：2018-06-29 16:49

本文选题：中国当代电影 + 叙事伦理　；参考：《山东师范大学》2016年博士论文

【摘要】：叙事伦理是艺术伦理学的一个分支,也是衡量作品价值的基本尺度。中国当代电影(1949年至今)在不同时期存在着不同的叙事伦理病症。学者们大都把目光聚焦在影片的伦理内涵阐述上,这些研究显然无法切中其叙事伦理的病理。本文首次将研究目标对准这一学术空白领域,目的在于全面认识和阐明中国当代电影的叙事伦理,揭示其问题的本质,为中国电影伦理效果的提升提供借鉴。本文以“陶冶情操、净化心灵、启迪思想”为良好伦理效果的标准,以中国建国以来六十多年的叙事性电影为主要研究材料,以系统观为研究的主要指导思想,综合运用实证研究、思辨研究、比较研究三种研究方法,对中国当代电影的叙事伦理进行探究。论文从叙事概念、伦理概念等的梳理中推导出电影的叙事伦理研究的范畴。基于叙事概念,论文确定了“电影表达了什么样的伦理观(即叙事的内容要素)、怎样表达(即叙事的形式要素)、为什么会有这样的伦理表达(即成因,也是交流层次)”的研究逻辑。在此基础上,论文结合中国当代电影的叙事伦理特点,分叙事伦理内涵、人物、形式、局限、成因及个案六章展开具体分析。中国当代电影根据伦理关系主要有集体伦理、个体伦理和生态伦理三个叙事重点。电影在这三个维度上体现出了着重点不同的伦理理念。电影中的集体伦理尤其强调国家、道德、正义的崇高地位;其个体伦理则展现出对生命、情感、理想和苦闷的关怀;其生态伦理一方面是消耗物质的生产主义、节俭主义、消费主义,另一方面是在物质面前退让的环保主义。中国当代电影在不同的时代对这三种叙事伦理有不同的侧重,且各种叙事伦理内涵在不同的时代有不同的精神内核。相比集体伦理和个体伦理,中国当代电影中的生态伦理并不独立,它常常依附于集体伦理来获得伦理定位,因此其叙事伦理人物类型划分以集体伦理和个体伦理为标准。集体伦理标准下有伦理升华的人物和伦理悬置的人物两大类。前者中有伦理完善的人物、伦理蜕变的人物、不合时宜的奉献者,这些人物都为其集体伦理信仰做出了利他选择。后者中有反伦理的人物、伦理堕落的人物、伦理游移的人物,这些人物则不同程度地游离于集体伦理的规范效力外。个体伦理标准下是伦理自由的人物,其中又有个体伦理的求索者、个体伦理的碰壁者、个体伦理的突围者、个体伦理的享有者几类,他们的个体伦理行动和境遇彰显了一定的时代特征。中国当代电影的叙事伦理不仅承载于叙事的内容要素上,还潜藏在叙事的形式要素中。电影中的特殊时空意象、情节结构、画面色彩都蕴含着丰富的伦理信息。这些伦理信息的形成有两个来源,一是叙事形式本身的伦理倾向,二是特定文化赋予叙事形式的伦理意义。中国当代电影特殊时空意象中的古代宫廷、民国时期大宅院、当下奢华场所分别指示着传统伦理的展现、封建旧伦理的批判、消费主义的宣示。情节结构中的“单行式”、“并行式”、“轮回式”、“迂回式”分别对应着前进、强化、恒定、突破的伦理进程。画面色彩中的红色、绿色、黑色、白色分别代表着伦理的冲突、自由、固守和更新。中国当代电影的叙事伦理意蕴宏大,表现丰富多彩,却有着严重的局限。其三大局限分别是电影伦理表达的主题先行、个人视角和泛自由化。中国当代电影起始于政治伦理遮天蔽日的时代,主题先行的叙事伦理局限由此扎根并挥之不去。政治的时代结束后,中国电影主题先行的叙事伦理诱因由政治扩展到名、利。伦理表达的个人视角滥觞于80年代,第五代导演和第六代导演在其职业生涯的初期都陷入其中,为世人留下了偏激的集体伦理批判和夸大的个体伦理愁苦。伦理表达的泛自由化泛滥于新世纪,电影中伦理事件的杂乱离奇和伦理内涵的含混不明是其主要征象。这三大局限各有特点,相互之间又有着交叉重叠,它们都阻碍了电影良好伦理效果的实现。中国当代电影的叙事伦理的以上表现和局限主要受文化、政治、经济的影响。中国传统伦理思想和西方近现代伦理思想等文化因素,宽松性政治、左倾性政治和开放性政治等政治因素,社会经济发展状态和电影市场经济等经济因素,通过以不同的方式影响创作者而作用于电影的叙事伦理。中国当代电影的叙事伦理的得失也是创作者的成败,电影的叙事伦理局限最终可追溯到创作者的人性问题。因此,加强电影创作者的职业伦理建设是提升中国当代电影的叙事伦理的必由之路。提升中国当代电影的叙事伦理势在必行,又任重道远。
[Abstract]:Narrative ethics is a branch of art ethics and a basic yardstick to measure the value of works. Chinese contemporary films (from 1949 to now) have different narrative ethical symptoms in different periods. Most scholars focus on the ethical connotation of the film. These studies are obviously unable to cut into the pathology of their narrative ethics. The aim of this study is to aim at this academic blank field. The purpose of this study is to fully understand and clarify the narrative ethics of Chinese contemporary films, to reveal the essence of its problems and to provide reference for the improvement of the ethical effect of Chinese films. This article takes "edify sentiment, purify the mind and enlighten the thought" as the standard of good ethical effect, six since the founding of China. The narrative films of more than 10 years are the main research materials, the main guiding ideology of the system view, the comprehensive application of empirical research, the speculative research, and the comparative study of three research methods. The narrative ethics of Chinese contemporary films are explored. The thesis derives the narrative ethics of the film from the narrative concept and the ethical concept. On the basis of the concept of narration, the thesis defines "what kind of Ethics (that is, the content of the narrative), how to express (the form elements of the narrative), and why there is such a logic of ethical expression (that is, cause, and the level of communication). On this basis, the thesis combines the narrative ethical characteristics of Chinese contemporary films, The six chapters of Chinese contemporary film are mainly collective ethics, individual ethics and ecological ethics in three narrative points. The film embodies the different ethical ideas in these three dimensions. The collective ethics in the film emphasizes the country, especially the country. The sublime status of morality and justice; its individual ethics shows the concern for life, emotion, ideal and depressing; its ecological ethics, on the one hand, consumes material production, frugality, consumerism, and on the other hand is the environmentalism in the face of material retreat. Chinese contemporary films have three kinds of narrative ethics in different times. The same emphasis, and all kinds of narrative ethical connotations have different spiritual core in different times. Compared with collective ethics and individual ethics, the ecological ethics in Chinese contemporary films is not independent. It often attaches to collective ethics to obtain ethical orientation, so the classification of narrative ethics is based on collective ethics and individual ethics. There are two categories of ethical sublimation characters and ethical suspensory characters under the collective ethical standards. The former includes ethical perfect characters, ethical metamorphosis characters, untimely devotees, and these characters have made altruistic choices for their collective ethical beliefs. The latter includes anti ethical human beings, ethical depraved characters, and ethical wandering characters. Some characters are free from the standard effect of collective ethics. Under the individual ethical standards, they are the characters of ethical freedom, among which there are individual ethics, individual ethics, individual ethics, and individual ethics. The ethical actions and circumstances of their individual ethics show certain characteristics of the times. The narrative ethics of Chinese contemporary film not only bears on the elements of the narrative content, but also is hidden in the form elements of the narrative. The special time and space image, plot structure and picture color in the film contain abundant ethical information. The formation of these ethical information has two sources, one is the ethical tendency of the narrative form itself, and the two is the specific text. The ancient court in the special time and space image of the Chinese contemporary film, the big house in the period of the Republic of China, the big house in the Republic of China, the present extravagant places indicate the display of the traditional ethics, the critique of the old feudal ethics, the declaration of consumerism, the "single line", the "style", "the cycle", the "roundabout" in the plot structure. It corresponds to the ethical progress of advance, strengthening, constant and breakthrough. The red, green, black, and white in the color of the picture represent the ethical conflict, freedom, adherence and renewal. The narrative ethics of Chinese contemporary film has a grand, colorful and strict limitation. The three major limitations are the themes of the film ethics expression respectively. The beginning of Chinese contemporary films begins in the era of political ethics blotting out the sun, and the narrative ethical limitations of the theme are rooted and lingering. After the end of the political era, the narrative ethics of China's film themes originated from political expansion to name, and the personal perspective of ethical expression originated in 80s, The fifth generation directors and the sixth generation directors have been trapped in the early career, leaving the world a radical collective ethical criticism and exaggerated individual ethical distress. The pan liberalisation of ethical expression in the new century, the confusion of the ethical events in the film and the ambiguity of ethical connotation are its main signs. These three limitations Each has its own characteristics and overlaps each other. They all obstruct the realization of the good ethical effect of the film. The above performance and limitations of the narrative ethics of Chinese contemporary films are mainly influenced by culture, politics, and economy. Chinese traditional ethics and western modern ethical thinking, such as cultural factors, loose politics, leftist politics, and so on. The political factors such as open politics, the state of social economic development and the economic factors such as the film market economy, influence the narrative ethics of the film by different ways. The success or failure of the narrative ethics of Chinese contemporary films is also the success of the creators. The narrative ethical limitations of the film can be traced back to the human nature of the creator. Therefore, strengthening the construction of the professional ethics of the film creator is the only way to improve the narrative ethics of the contemporary Chinese film. It is imperative to promote the narrative ethics of the contemporary Chinese film, and it is a long way to go.
【学位授予单位】：山东师范大学
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J905

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