中国早期电影布景研究
发布时间：2019-07-03 17:45
【摘要】：中国电影自其诞生之日起,其发展过程便与中国社会的现代性进程相伴而生,早期的电影布景也是中国电影民族美学的一部分,对传统空间美学形态的探索、不同形态的生成与发展、民族精神的传承与再现是其美学研究的重要内容。本文选取的时间跨度自1905—1949年,因为,这一阶段的中国电影更加客观的再现的历史的巨变,展现出特有的中国形象与经验,促使这一阶段的电影也成为中国现代性进程重要的文化表征。本文第一章通过对这一时期电影布景发展进程的溯源,以及在已掌握的大量相关资料的基础上,针对这一时期的电影布景的创作观念,按早期电影布景发展的三个不同阶段,所呈现的不同手法及现象进行举例与分析；文章的第二章从电影“布景造景”的角度出发,对中国传统美学的、空间的、文化的理论进行重新的梳理与整合,进而指明在早期电影布景与我国传统空间基础上所承载的表意功能,以及与寺歌、园林、绘画、戏剧四种传统艺术形式在空间美学上的传承与发展；第三章是立足于西方电影理论的研究,从电影叙事的隐喻理论、精神分析以及符号学来诠释电影布景和空间形态在构建电影空间过程中的重要性,以及在空间叙事过程中所体现的隐喻的方式与作用;第四章基于二三章中西方对电影空间美学及视觉隐喻的研究回溯中国早期电影,从这一时期的社会意识形态,受众的审美诉求等方面阐释早期电影布景民族化的美学特质形成的外在因素。
[Abstract]:Since its birth, the development process of Chinese film has been accompanied by the process of modernization of Chinese society. The early film setting is also a part of the national aesthetics of Chinese film. The exploration of traditional spatial aesthetic form, the formation and development of different forms, and the inheritance and reproduction of national spirit are the important contents of its aesthetic research. The time span selected in this paper is from 1905 to 1949, because the great changes in the history of Chinese films in this stage are more objective, showing the unique Chinese image and experience, and promoting the films in this stage to become an important cultural representation of the process of Chinese modernization. The first chapter of this paper analyzes the different techniques and phenomena of the early film setting development according to the three different stages of the early film setting development by tracing back to the origin of the development process of the film setting in this period and on the basis of a large number of relevant materials that have been mastered. The second chapter of the article recombs and integrates the theories of Chinese traditional aesthetics, space and culture from the point of view of the film "setting", and then points out the ideographic function carried on the basis of the early film setting and the traditional space of our country, as well as the inheritance and development of the four traditional art forms of temple song, garden, painting and drama in space aesthetics. The third chapter is based on the study of western film theory, from the metaphorical theory of film narrative, psychoanalysis and semiotics to explain the importance of film setting and spatial form in the process of constructing film space, as well as the way and function of metaphor in the process of spatial narrative. The fourth chapter, based on the study of film space aesthetics and visual metaphor in the second and third chapters, traces back to the early Chinese films, and explains the external factors of the formation of the aesthetic characteristics of the nationalization of the early film sets from the aspects of social ideology and the aesthetic demands of the audience in this period.
【学位授予单位】：中央美术学院
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J905
[Abstract]:Since its birth, the development process of Chinese film has been accompanied by the process of modernization of Chinese society. The early film setting is also a part of the national aesthetics of Chinese film. The exploration of traditional spatial aesthetic form, the formation and development of different forms, and the inheritance and reproduction of national spirit are the important contents of its aesthetic research. The time span selected in this paper is from 1905 to 1949, because the great changes in the history of Chinese films in this stage are more objective, showing the unique Chinese image and experience, and promoting the films in this stage to become an important cultural representation of the process of Chinese modernization. The first chapter of this paper analyzes the different techniques and phenomena of the early film setting development according to the three different stages of the early film setting development by tracing back to the origin of the development process of the film setting in this period and on the basis of a large number of relevant materials that have been mastered. The second chapter of the article recombs and integrates the theories of Chinese traditional aesthetics, space and culture from the point of view of the film "setting", and then points out the ideographic function carried on the basis of the early film setting and the traditional space of our country, as well as the inheritance and development of the four traditional art forms of temple song, garden, painting and drama in space aesthetics. The third chapter is based on the study of western film theory, from the metaphorical theory of film narrative, psychoanalysis and semiotics to explain the importance of film setting and spatial form in the process of constructing film space, as well as the way and function of metaphor in the process of spatial narrative. The fourth chapter, based on the study of film space aesthetics and visual metaphor in the second and third chapters, traces back to the early Chinese films, and explains the external factors of the formation of the aesthetic characteristics of the nationalization of the early film sets from the aspects of social ideology and the aesthetic demands of the audience in this period.
【学位授予单位】：中央美术学院
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J905
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