后现代视角下的冯小刚喜剧电影研究

发布时间：2018-01-20 05:55

本文关键词： 后现代主义冯小刚喜剧电影后现代主义语境后现代主义特征后现代主义艺术元素　出处：《西安建筑科技大学》2014年硕士论文　论文类型：学位论文

【摘要】：20世纪90年代，一部喜剧电影《甲方乙方》使导演“冯小刚”开始受到中国大陆广大电影观众的密切关注。如今，冯小刚凭借他编导的一系列高票房的幽默喜剧电影已逐渐成为中国大陆喜剧电影界里一名重量级的喜剧电影导演，他的喜剧电影也有了一定的品牌效应。当前，无论是冯小刚导演本人还是他诸多的喜剧电影作品都已成为国内广大喜剧电影创作者学习和研究的对象。鉴于此，本文也试图从后现代主义的视角出发对冯小刚的喜剧电影作以研究，来向大家揭示冯氏喜剧电影的独特魅力和成功因素。本文大致包括六部分：第一章绪论。这部分简单介绍了关于冯小刚喜剧电影研究的背景和意义，及目前的国内外研究现状，提出本论文的后现代主义研究视角。第二章分析了冯小刚喜剧电影后现代特征形成的社会文化语境。这部分先交代了什么是后现代主义和后现代主义电影的特征，继而指出崛起于20世纪90年代末的“冯氏喜剧”电影因中国当时的市场经济体制改革，而天然地具备一些后现代特征形成的境遇条件，如“以大众文化为主体的，由大众传媒支配的，倡导多元话语权”的后现代大众文化语境和“追求无深度、平面化；反主体；崇尚大众消费性；娱乐性至上“的后现代消费文化语境。第三章深入剖析了冯小刚喜剧电影的游戏化、平面化及多元化等的三个层面的后现代主义特征，并特别指出冯小刚在中国大陆的电影界率先树立起商品经济的理念，将电影艺术与商业相结合，使得他的喜剧电影作品具有商业化特征。第四章具体分析了冯氏喜剧电影后现代特征的艺术元素的几种表现形式，即小品化故事情节拼贴，平民化人物叙事，还有狂欢化幽默语言等。所有这些形式都是后现代电影艺术特征——“反宏大叙事”——的具体体现。第五章总结了冯氏喜剧电影的成功之处，并对其固有的地域局限性进行了简单探讨。指出“冯氏喜剧”能够顺应时代发展将电影的艺术性和商业性完美融合从而在中国内地拥有很强的品牌效应，但其若想走出地域局限从而让世界人民共享，还需在几方面继续努力。第六章是结论。提出正确理解和认识冯氏喜剧电影的后现代特征，无论对于当代中国喜剧电影的创作实践还是理论研究都具有深刻的借鉴和启示意义。本文应用后现代主义的相关理论方法，从后现代主义视角出发，对冯小刚的喜剧电影作品进行了相对系统的分析和研究，指出冯小刚的喜剧电影在中国大陆的喜剧电影发展史上具有里程碑的作用。它们因为自己独特的后现代性特征，因而可以将喜剧电影的幽默精髓完全释放，从而为中国喜剧电影的发展开创了一片崭新天地。本文同时分析了冯小刚喜剧电影发展的得与失，，指出冯小刚应该在保持自己已有的的喜剧电影创作特色优势的基础之上，尚需进一步为自己的电影作品努力拓宽国内外市场以创造更高社会知名度，争取使之走出国门，走向世界，为中国大陆喜剧电影的蓬勃发展树立一个积极的榜样示范作用。
[Abstract]:In 1990s, a comedy film "party a party b > director" Feng Xiaogang "have begun to pay close attention to Chinese mainland film audience. Today, Feng Xiaogang with his directing a series of high box office comedy film has become China, comedy movies in a heavyweight comedy film director, his comedy film also have certain brand. Currently, it is directed by Feng Xiaogang himself or his many comedy film works have become the object of the majority of domestic comedy filmmakers to learn and study. In view of this, this paper also attempts to Feng Xiaogang's comedy movies from the postmodernism perspective for the study of the unique charm and success factors to reveal to you Feng's comedy movies.
This paper consists of six parts:
The first chapter is the introduction. This part briefly introduces the background and significance of Feng Xiaogang comedy movie research, and the current research status at home and abroad, and puts forward the postmodern perspective of this thesis.
The second chapter analyzes the characteristics of the formation of modern comedy film after Feng Xiaogang's social and cultural context. This part first explains what is the characteristics of modernism and postmodernism film, then pointed out that the rise in the end of the 1990s film "Feng comedy" because China at the time of the reform of market economic system, and has formed the modern natural features after the situation, such as the "mass culture as the main body, dominated by the mass media, advocating the pluralistic discourse" in postmodern cultural context and the "pursuit of no depth, flat; anti subject; advocating public consumption of entertainment; first" postmodern consumption culture context.
The third chapter analyzes Feng Xiaogang's comedy movie game, three aspects of plane and diversified the characteristics of postmodernism, and points out that Feng Xiaogang in the Chinese mainland film industry to establish the concept of the commodity economy, the movie art and business combination, made his comedy movie has the characteristics of commercialization.
The fourth chapter analyzes the specific forms of artistic elements in Feng's comedy movie modern features, namely the sketch of plot collage, civilian narrative, and Carnival humor. All these forms are post-modern movie art features embodied "grand narrative" - -.
The fifth chapter summarizes the success of Feng's comedy movies, and the inherent limitations are discussed. It is pointed out that the "Feng comedy" to adapt to the development of the brand effect of the artistic and commercial films in order to perfect fusion Chinese mainland has a very strong, but if you want to get out of the geographical limitations and the people in the world sharing, need to continue efforts in several aspects.
The sixth chapter is the conclusion. The modern characteristics put forward correct understanding and awareness of Feng's comedy film, it has a profound significance to the contemporary China comedy film creation practice and theoretical research.
The related theories and methods of modernism in this paper, starting from the perspective of postmodernism, Feng Xiaogang's comedy film works are analyzed and relative system research, it is pointed out that the role of milepost Feng Xiaogang's comedy film comedy film in the history of development of China mainland. They are because of their unique features of post modernity, so it can be the essence of humor comedy movie released in full, thus creating a new world for the development of Chinese comedy film. This paper also analyzes the development of Feng Xiaogang's comedy movies of the gain and loss, pointed out that Feng Xiaogang should be based on maintaining their existing comedy film creation characteristics and advantages, still need to create more social awareness for further his film works to expand domestic and foreign markets, and strive to make out of the country, to the world, for the China mainland comedy movie flourish Set up a positive example and exemplary role.

【学位授予单位】：西安建筑科技大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

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