中美对日作战战争电影比较研究

发布时间：2018-01-19 07:08

本文关键词： 对日作战电影叙事角色叙事模式类型电影意识形态　出处：《山东师范大学》2013年博士论文　论文类型：学位论文

【摘要】：第二次世界大战不仅夺去了人类的生命，而且给人类留下了永远的精神伤痛，所以，通过影像真实地揭示和反思这场战争所带来的灾难与罪恶，一直以来就是世界电影的热门主题。作为第二次世界大战中反法西斯同盟的胜利者中国和美国，两国均参加过的对日战争为中美电影提供了丰富的素材来源。时至今日，中美对日作战电影无论在数量还是在质量上都有很大突破。本文通过对中美两国对日作战电影的梳理考辨和对比论析，扣住中美对日作战电影中的历史叙事方式、历史想象与意义生产等核心要素，以电影史研究、文化研究和影像艺术研究相结合的视角，在整合考辨丰富的历史史料基础上，采用类型研究、比较研究、叙事学研究、文本个案研究、意识形态论析等研究方法，审视了中美两国同题材电影中呈现的历史表述的多元风貌，力求为我国的战争片创作尤其是抗战电影创作提供有益的借鉴和指导。论文从总体上分为六章。在绪论部分，主要解释了本论文的研究缘起、研究目的、研究方法，并对国内外相关研究成果及国内电影学界的研究现状进行了简要介绍。重点是围绕本文的研究方法，厘清了本论文采用的叙事学、历史分析法、类型研究和意识形态分析法等理论基础。第一章是对中美两国的对日作战电影生产史进行了历史化的梳理和分析。本章主要采取了历史分析法和电影史综述的研究思路。中国的对日作战电影经历了抗战电影时期、“十七年”电影时期和新时期三个时期，而且从内容到形式更加多样化，人物刻画由简单到复杂，，强调真实，追求造型，视听效果越来越强，制作水平逐渐由低到高不断提升。美国的对日作战电影从一开始的战时纪录电影时代，到五六十年代的战争史诗时代和七八十年代的沉寂阶段，最后到现在世纪之交的商业大片时代，其电影基调一直以反战主题为主，从《大阅兵》、《西线无战事》到《辛德勒的名单》、《细细的红线》等，都是通过描写战争给人类带来的深重灾难来反思历史的。第二章、第三章是对中美对日作战电影的电影文本进行分析评价，主要采用了电影叙事学的研究方法，对相关电影文本中的叙事角色（行动元）和叙事模式进行了比较研究。其中，第二章借鉴了俄国形式主义文论家普洛普的七种剧情角色的研究方法，选取了加害者（敌人）、受害者、抗争者、帮手等叙事角色进行比较分析。中美两国电影文本中的叙事角色既呈现出了历时性的变化，同时在对比中又呈现出较大的差异。第三章则从电影叙事学的另一重要角度——叙事模式出发，评析了中美对日作战电影中的诸种叙事模式，如“战争胜利”叙事模式、“英雄成长”叙事模式、爱情叙事模式、家国叙事模式、小分队作战叙事模式、集团作战叙事模式等等，它们均以个性化的叙事建构形式展现出影片独特的审美风格，暗示着多样化的价值诉求和主题旨归，满足人们不同层面的审美接受视野。中美电影都有运用这些叙事模式建构故事情节的鲜明痕迹，并且表现出不同国别的政治习惯、文化语境、国民意识和个体精神对叙事模式的深层支配功能。通过对这些叙事模式的不同表现进行比较分析，力图剖析其背后的生成原因及其规律所在。第四章则从类型电影的角度对中美对日作战电影进行比较。之所以选择这一角度和分析方法，一是因为同题材电影呈现出较为鲜明的类型化倾向，二是因为美国好莱坞电影的类型化生产对美国对日作战电影产生了至关重要的影响，而这种影响正是中美同题材电影呈现出不同风格的重要原因。对此进行类型化的比较分析，可以相对客观公正地找出解决中国抗战电影的电影魅力、商业性或者娱乐性功能严重不足这一问题的答案。这一答案简而言之，就是中国电影如何借鉴好莱坞战争类型电影的类型化特征和创作模式。第五章主要针对两国对日作战电影的核心即战争场景的影像再现进行比较分析。主要采用了电影文本解读论析法，重点选取了两种电影中具有代表性的三部风格相近的影片进行影像比较分析。一是分析了对日作战电影的战争场景的丰富性，二是分析了构成战争场景影像的五大元素——景别、运动镜头、色彩、烟火造型和主客观视点在运用和形式层面的异同，从而进一步揭示出：中美两种电影的不同战争影像虽然受到了两国不同电影制作技术尤其是特效技术的影响，但是这种区别更多根源于电影的创作观念、战争价值观和创作主旨。第六章主要以意识形态为分析角度，分析研究对日作战电影这一意识形态形式的生产与传播，并探索两国对日作战电影生产的深层文化结构、文化语境与社会心理。最后本章提出在抗战电影创作中我国电影人应该不断探索现代性意识形态与大众美学的平衡与结合，努力突破抗战电影中传统意识形态束缚，从而实现民族战争电影创作与现代性意识形态传播的互动。结语部分，在前面六章进行比较研究的基础上，总结论证了美国对日作战电影体现在电影机制和电影本质上的认识、类型化的叙事角色和叙事模式以及对现代性意识形态的引入和传播等方面的创作经验，并且提出了对我国抗战电影的期许。
[Abstract]:The Second World War not only deprived of human life, and left to the human spirit forever pain, therefore, disasters and evils brought reflection and reveal the true image through the war, has always been a hot topic in the world film. As the anti fascist alliance in the Second World War and the United States Chinese winner the war against Japan, both countries participated in providing a source of abundant materials for the Chinese and American movies. Today, American film war against Japan in terms of quantity or have great breakthrough in quality. By reviewing the study and comparison of the two countries fight against the Japanese movie analysis on Sino US historical narrative way fighting in the movie, the historical imagination and the significance of the core factors of production, in film studies, cultural studies and visual art from the combination of integration in the rich history of history The material on the basis of comparative study of the type of research, narrative research, case study, text, Ideology Analysis and other research methods, examines the two countries with multiple features presented in the film representation of history, and strive for the creation of the Chinese war films especially provide a useful reference and guidance during the anti Japanese war movie creation.
This thesis is divided into six chapters. In the introduction part, mainly explains the research background, the research purpose, research methods are briefly introduced and the related research results at home and abroad and the domestic film academic research. This paper focuses on the way around, clarify the research adopted the narrative study, historical analysis, theoretical basis and ideological analysis of type research method.
The first chapter is the fight against the Japanese movie production history of the two countries and analyzes the history. This chapter mainly adopts the historical analysis method and research ideas of film history review. Chinese waragainst Japan experienced a movie film of the Anti Japanese War period, the three period of seventeen years "period and the new period, and from the content to the form of a more diverse characters from simple to complex, emphasize the truth, the pursuit of style, visual effect is more and more strong, the production level is gradually rising from low to high. The fight against the Japanese movie from the beginning of the wartime record film era, the silence to stage the 50s and 60s war epic era and 70s and 80s. Finally, up to now the turn of the century era of blockbuster movies, the tone has been dominated by Anti War theme, from the big parade, on the Schindler list > > and < < < > in the west, the thin red line, all It is a reflection of history by describing the deep disaster brought to mankind by war.
The second chapter, the third chapter is the movie text on the Sino US war against Japan film analysis and evaluation, mainly adopts the research methods of narrative film, the film version of the narrative role (action element) were studied and the narrative pattern. Among them, the second chapter draws on the research methods of seven kinds of plot character of Russian formalism the home of Propp, selected the perpetrators (enemies), victims, protesters, etc. for helper narrative role analysis. The two countries in the movie text narrative role not only presents a diachronic change, at the same time contrast and shows great differences. The third chapter: from the narrative mode another important aspect of the film narrative, analyzes on the narrative modes on Sino US war in the movies, such as "war" narrative mode, "hero" narrative mode, narrative mode of love, " Small unit combat narrative mode, narrative mode, narrative mode of group operations and so on, they are personalized narrative form to show the unique aesthetic style of the film, suggesting that the diversification of the value and purpose of the theme, meet people of different levels of aesthetic vision. American movies have used these narrative model clear traces of the story, and show different national political habits, cultural context, deep national consciousness and the individual spirit of the narrative pattern of the dominant function. Through the different manifestations of these narrative modes were compared and analyzed, the causes and rules to analyze behind it.
The fourth chapter compares the Sino US war against Japan from the perspective of the film type film. The reason for choosing this angle and analysis methods, one is because the same movie showing a tendency is more distinctive, because two types of production in the United States Hollywood film has an important effect on the fight against the Japanese movie, and this effect is an important cause of Sino US with the films show different styles. This type of comparative analysis, can be relatively objective and fair solution China war film movie charm, commercial or recreational function of a serious shortage of the answer to this question. The answer is in short, how to draw lessons from the Hollywood war film China the type of film type characteristic and creation mode.
The fifth chapter mainly aims at the core of our fight against the Japanese film the war scene reproduction of the images were compared and analyzed. Mainly used on film text interpretation method, we selected two representative films in three similar style to the film image. A comparative analysis is the analysis of the richness of the fight against the Japanese movie the war scene, the two is the analysis of the composition of the five elements of war scene image, scene, camera movement, color, and other fireworks in the use of subjective and objective viewpoint and the similarities and differences of the level of form, which further reveals that different war images the two film despite the different film making technology especially special effects technology however, this distinction is more rooted in the film creation idea, war values and the theme of it.
The sixth chapter mainly ideological analysis, production and dissemination of this form of Ideology Analysis on Japanese war movie, and to explore the deep cultural structures of both the fight against the Japanese film production, cultural context and social psychology. Finally, this chapter puts forward that our country should be in the war movie film creation constantly explore the modernity ideology and mass aesthetic balance and integration, to break the shackles of the traditional ideology of war film, so as to realize the interaction of national war film creation and dissemination of ideology of modernity.
In the conclusion part, a comparative study based on the previous six chapters, summarize the demonstration of the American war against Japan in the movie film embodies cognition mechanism and the nature of the film on the type of narrative and narrative mode and role of modern ideology of the introduction and dissemination of the creative experience, and put forward to China's Anti Japanese War the film's expectations.

【学位授予单位】：山东师范大学
【学位级别】：博士
【学位授予年份】：2013
【分类号】：J905

【引证文献】