王家卫电影中的爱情世界探析

发布时间：2018-07-04 20:04

本文选题：王家卫 + 爱情　；参考：《河北师范大学》2017年硕士论文

【摘要】：爱情是王家卫电影所要表现的永恒主题,与传统爱情电影中所表现的两情相悦不同,王家卫总是把爱情中残酷的一面赤裸裸地展现在观众面前,让观众明白人们对美好爱情的想象与爱情本身有着巨大差异。本文以王家卫电影中的爱情作为研究对象,主要从爱情人物、爱情世界、爱情独特性、独特的艺术表达方式四个方面来进行阐释。第一章,将电影中的人物形象归为男女两类,在此基础上又根据性格将人物进行细分,男性人物主要分为“隐忍克制的忧郁型男性”、“放荡自私而又懦弱的男性”、“简单直接跟随本心的男性”三类;女性人物主要分为“温婉贤惠痴情等待式女性”、“泼辣且执着的敢爱敢恨式女性”、“简单乐观开朗的阳光型女孩”三类,在此基础上又通过典型的事例来具体分析人物各自的性格特征。第二章,根据王家卫电影中不同的题材抽取了较有代表性的四部影片:《花样年华》、《东邪西毒》、《春光乍泄》、《2046》,对四部影片的情感世界进行挖掘,主要从“爱情漩涡中个体的‘自我救赎与毁灭’”、“爱情信仰的丢失与找寻”、“爱的相处:探戈式的爱情角力”、“爱的发生具有不可抗性”四个方面来进行阐述。第三章,探讨王家卫电影中爱情的独特性,主要从单向度的爱这种独特的情感状态以及人物孤独的精神气质两方面入手。首先,独特的情感状态主要从“孤独者的另类寻爱”以及“错位或错失的爱的循环”两方面进行分析;其次,在分析人物孤独的精神气质时揭示了人物在“两难的选择与孤独的宿命”中艰难挣扎的生存状态,其次又分析了导致人物孤独的深层原因:“港人文化身份认同焦虑”。第四章,探讨电影独特的艺术表达方式。首先,在独特的时空表现中突出两个方面:“以情感为主导的个人化‘想象时间’”以及“寓意化的情绪空间”;其次,电影中的色彩是“主观化、情绪化”的,光影是“表现型”的;第三,以“九七”香港回归为界,电影中的摄影风格经历了前后两次大的转变:从“暴烈迷乱”转向“沉滞舒缓”。
[Abstract]:Love is the eternal theme of Wang Jiawei movies. Unlike the traditional love movies, Wang Jiawei always shows the cruel side of love in front of the audience. Let the audience understand that there is a huge difference between people's imagination of good love and love itself. This article takes the love in the Wang Jiawei movie as the research object, mainly from the love character, the love world, the love unique, the unique artistic expression way carries on the explanation from four aspects. In the first chapter, the characters in the film are classified into two categories: male and female. On this basis, the characters are subdivided according to their characters. The male characters are mainly divided into "restrained melancholy men" and "debauchery, selfish and cowardly men". There are three types of "simple and direct male"; female characters are mainly divided into three categories: "gentle and virtuous women waiting for love", "fierce and persistent dares to love and hate women", and "simple optimistic and cheerful sunshine girls." On this basis, through typical examples to analyze the characteristics of the characters. In the second chapter, according to the different themes of Wang Jiawei films, four representative films are selected: "in the mood for Love", "Evil and West Poison", "Spring Light", < 2046 >, and excavate the emotional world of the four films. It is mainly described from the following four aspects: "self redemption and destruction" in the whirlpool of love, "the loss and search of love belief", "the coexistence of love: tango love struggle" and "the occurrence of love is irresistible". The third chapter discusses the uniqueness of love in Wang Jiawei movies, mainly from two aspects: the unique emotional state of one-dimensional love and the lonely spiritual temperament of the characters. First, the unique emotional state is mainly analyzed from two aspects: "the lonely person's alternative love" and "the cycle of misplaced or missed love"; secondly, In the analysis of the solitude of the characters, the author reveals the living conditions of the characters struggling in the dilemma of choice and the fate of loneliness, and then analyzes the deep reasons that lead to the loneliness of the characters: "Hong Kong people's cultural identity anxiety". The fourth chapter discusses the unique artistic expression of the film. First of all, there are two outstanding aspects in the unique space-time performance: "emotional personalization 'imagining time'" and "implied emotional space"; secondly, the color in the film is "subjective, emotional". Light and shadow are "expressive"; third, with the return of Hong Kong in 1997, the cinematographic style in the film has undergone two major changes: from "violent confusion" to "stagnation and relief."
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J911

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