后现代语境下的娄烨电影研究

发布时间：2018-01-16 02:37

本文关键词：后现代语境下的娄烨电影研究　出处：《浙江理工大学》2014年硕士论文　论文类型：学位论文

【摘要】：“后现代”思潮与后工业时代相适应，产生于20世纪60年代的西方资本主义发达国家。“后现代”与大众文化的合谋产生了后现代电影。在全球化复杂的文化空间和话语的大背景下，中国影坛出现一批新生代电影人，在对“第五代”电影作品的批判性继承中，渴望突破传统经典，自觉不自觉的选择了“后现代”风格电影，与西方后现代文化进行了呼应和对话，这就是电影评论界所说的“第六代”电影人。本论文聚焦于隶属“第六代”电影人、颇具“后现代”风格的娄烨的电影创作，力图揭示当代电影中“后现代”特征的形成背景，分析娄烨电影中的后现代影像实践，总结在后现代语境下中国电影未来的发展趋势和倾向，也借此论证电影应具备的艺术价值和社会意义。论文首先对后现代艺术的起源和主要特征进行阐述，引出电影作为艺术的后现代特性。接着论述与探究在后现代思潮传入中国时，后现代电影的“中国策略”及娄烨等“第六代”导演作品中的后现代倾向。其次，基于对后现代电影特征的分析，挖掘娄烨电影作品中的影像创新。从叙事风格到影片结构，从人物视角选择到新场景意象的确立，从镜头的独特表达到后期剪辑的碎片式拼凑，总结出娄烨影像实践的后现代性表现。再次，通过对娄烨电影中后现代影像因素分析，探讨在后现代语境下娄烨电影对现实生活的感悟，对大众青年文化的展现和生命意义的传达。最后，基于上述对娄烨影像的整体性分析，总结在后现代语境下中国电影未来的发展趋势和倾向，为后现代精神的传承做出贡献，借此论证电影应具备的艺术价值和社会意义。本论文试图通过对娄烨电影中后现代因素的分析，对后现代电影的中国实践进行反思和总结，，对一直以来影像模糊的娄烨电影有一清晰评判和解读，使得具有“娄氏风格”的影像成为中国边缘文化的代表作，为中国底层现实社会提供了影像文献，引起人们对后现代语境下电影的发展倾向和现实题材独立电影的思考。
[Abstract]:The trend of thought of "post-modern" adapts to the post-industrial era. In 1960s, the western capitalist developed countries. "Postmodernism" and mass culture collusion produced post-modern film. Under the background of globalization and complex cultural space and discourse. A group of new generation filmmakers appeared in the Chinese film world. In the critical inheritance of the "Fifth Generation" film works, they longed to break through the traditional classics and chose the "post-modern" style film consciously or unconsciously. This paper focuses on the "6th generation" filmmakers, which is called "6th generation" filmmakers in the film critics. Lou Ye's film creation with a "post-modern" style tries to reveal the background of the formation of "post-modern" features in contemporary films and to analyze the practice of post-modern images in Lou Ye's films. This paper summarizes the trend and tendency of the future development of Chinese films in the post-modern context, and demonstrates the artistic value and social significance of the films. This paper first expounds the origin and main characteristics of post-modern art, and then discusses and explores the post-modern trend of thought in China when the post-modern trend of thought is introduced into China. The postmodern film's China Strategy and the postmodern tendency in the works of the 6th generation directors such as Lou Ye. Secondly, based on the analysis of the characteristics of post-modern films, this paper explores the image innovation in Lou Ye's film works, from narrative style to film structure, from the perspective of characters to the establishment of new scene image. From the unique expression of the lens to the piecemeal patchwork of the later editing, the post-modernity performance of Lou Ye's image practice is summarized. Thirdly, through the analysis of the factors of the post-modern image in Lou Ye's films, this paper probes into the perception of real life in Lou Ye's films in the post-modern context, the display of mass youth culture and the conveyance of the meaning of life. Finally, based on the overall analysis of Lou Ye's image, this paper summarizes the trend and tendency of the future development of Chinese film in the post-modern context, and contributes to the inheritance of the post-modern spirit. In order to demonstrate the film should have the artistic value and social significance. This thesis attempts to reflect on and summarize the Chinese practice of the post-modern film through the analysis of the post-modernism factors in Lou Ye's films, and to have a clear judgment and interpretation of Lou Ye's film which has always been blurred. It makes the image with "Lou's style" become the representative work of Chinese marginal culture, and provides the image literature for the bottom realistic society of China. It causes people to think about the development tendency of the film and the independent film with realistic theme in the post-modern context.
【学位授予单位】：浙江理工大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J911

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