管虎电影美学思想研究

发布时间：2018-01-13 17:42

  本文关键词：管虎电影美学思想研究　出处：《四川师范大学》2014年硕士论文　论文类型：学位论文

  更多相关文章： 管虎 边缘人群 第六代电影导演 非线性叙事 悲剧

【摘要】：管虎作为新生代中国电影导演中的“鬼才”导演，自第一部电影处女作《头发乱了》以来，就开始展现其不同于同代导演的叙事风格和多维度影像理念。管虎电影中有中国新生代导演的普遍性特征，，但是又并不局限于共同性中，他剑走偏锋，通过早期拍摄电视剧的锻炼和积累，逐渐形成了一套自己的电影审美风格和叙事策略。通过对边缘人物细致入微的刻画，管虎电影渗透出强烈的人文关怀和质朴的生命体验。本文试图通过对管虎个性化的研究，着重分析管虎电影风格的形成原因及其影像中表意系统的核心美学特点。通过对作品的深度剖析，阐述管虎的创作主题下蕴含的美学意味以及哲学思考。本文还将以中国第六代电影导演为叙述背景，探索管虎与中国第六代导演之间普遍性与特殊性的关系，并尝试对第六代导演的创作思路带来一定的借鉴意义。 本文主体分为四个部分： 第一章是管虎其人与中国电影新生代。在这个章节中，主要有两小节构成，第一小节主要讨论中国第六代导演中的现实处境，他们虽然时常成为国内舆论的话题，但是第六代导演由于游离于体制外创作，所以是“地下”逆光生存现状，这一小节主要阐述中国第六代导演在当今时代中的真实精神状况和生存状态。第二小节讲述管虎置身于中国第六代导演中，却又独树一帜的“怪才”特征，管虎作为“异类”导演的养成经历和骨子里渗透着必须关注小人物的使命感。 第二章是管虎导演的叙事主题和美学艺术风格。在这个章节中，主要有三小节构成：第一小节由边缘人群的个性化写实和乱世中有关个人生存价值的诘问这两部分组成。管虎电影的关注点，始终围绕边缘化人群展开。边缘化人物主要是无名的小人物，通过对小人物的描述展现普通人的平凡生命。第二小节主要讨论管虎电影中女性角色的柔性抗争。通过对其电影中女性角色的梳理，可以概括管虎对女性在世俗社会生活中命运发展的个人思考。重点分析影片《西施眼》，结合中国意境论美学范畴，讲述在男性导演视角下的女性审美意象。第三节是苔藓式环境中的异类沙漠，这一小节讨论的是管虎电影下的第三类极具特点的个性人物。不同于小人物的基数大普遍化等特点，这类人群通常也属于边缘性人群，但是个体差异性明显，属于典型环境中成长出的非典型性人物，这一小节将结合作品《杀生》来深度剖析。 第三章是管虎电影镜头中表意系统的核心美学特点。这个章节由两小节构成：人物宿命感的悲剧审美体验和非线性叙事语境中还原生命体验的美感，这两节从电影拍摄技术本身来讨论管虎电影叙事技巧方面的规律和美学意义。 第四章是管虎电影和新生代导演出路。这一章节由“亿元俱乐部”的追逐与反思和第六代导演的集体展望组成。在最后一章中，通过对管虎第一部完全商业电影《厨子戏子痞子》的分析，来阐述管虎电影以及中国第六代电影导演如何在坚持自我艺术创作的前提下突出重围，在中国电影市场中另辟捷径，寻找到属于自己的道路。
[Abstract]:As a new generation of film director Guan Hu China in "genius" director, since the first movie debut "hair", began to show the different from the same generation of the narrative style and the multi dimension image concept. Universal features China directors of the new generation in Guan Hu's films, but is not limited to the common he, Zoupian Jian Feng, through early drama training and accumulation, and gradually formed a set of their own film aesthetic style and narrative strategy. Through to portray nuanced characters in the film, Guan Hu a strong humanistic care and simple life experience. This paper attempts to study Guan Hu's individuation, form the core of the aesthetic features of the image and ideographic system focuses on the analysis of Guan Hu film style. Based on the depth analysis of works, expounds Guan Hu's creation under the theme of the aesthetic meaning in And philosophical thinking. This paper will also take the sixth generation of Chinese movie directors as the narrative background, explore the relationship between Guan Hu and the sixth generation directors in China, and try to provide some reference for the sixth generation directors' creative ideas.
The main body of this article is divided into four parts:
The first chapter is about Guan Hu and Chinese movie Cenozoic. In this section, there are two main sections. The first section mainly discuss Chinese sixth generation director of the reality of the situation, although they often become the topic of public opinion, but the sixth generation directors due to free from outside the system creation, so is the "underground" negative living status this section mainly expounds the Chinese sixth generation in today's era of true mental health and living condition. The second section describes Guan Hu in China sixth generation director, has become an independent school "geeks" features Guan Hu as "alien" director to develop experience and inside permeate a little people must pay attention to the sense of mission.
The second chapter is Guan Hu's narrative theme and aesthetic style. In this section, there are three main sections: the first section of two by the edge of the crowd and troubled about personalized realism of the value of human existence question part. Guan Hu's film concerns, always around the marginalized groups. The marginalized mainly is a little obscure, show the ordinary life of ordinary people through the little description. The second section mainly discusses the flexible struggle of female characters in Guan Hu's films. Based on the female role in the movie review, can be summed up personal reflections on women's fate in the development of secular and social life in Guan Hu. The movie focuses on the beauty of the eye on the aesthetic category with China >, artistic conception, aesthetic images in the male director about the female perspective. The third section is the moss type environment in heterogeneous desert, discussed in this section Is the third great characteristics of Guan Hu film under the personality. A large number of common features such as different from the little people, these people are usually belongs to marginal groups, but individual differences obviously, belongs to the atypical growth figures out in the typical environment, this section will work with the "killing depth analysis."
The third chapter is the core of aesthetic characteristics of Guan Hu in the film ideographic system. This chapter is divided into two sections: the reduction of the life experience of the aesthetic character fatalism tragedy aesthetic experience and nonlinear narrative context, the two from the film technology to discuss their own rules of the Guan Hu film narrative skills and aesthetic significance.
The fourth chapter is the Guan Hu film and the directors of the new generation way. This chapter from the "million club" chase and reflection and the sixth generation of director's collective outlook. In the last chapter, by analyzing Guan Hu's first commercial movie "cook actors riffraff", expounds Guan Hu's films and films of the sixth generation Chinese how the director insists on self artistic creation under the tight encirclement, in the China movie market open another shortcut to find their own way.

【学位授予单位】：四川师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

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本文编号：1419888