九十年代的伊朗新电影研究

发布时间：2018-01-25 09:18

  本文关键词： 伊朗 新电影 诗意质朴 伊斯兰文化 风格　出处：《西南大学》2017年硕士论文　论文类型：学位论文

【摘要】：1906年开始,伊朗建了首批电影放映厅,经过后期的发展,伊朗电影业有了一定的规模。受二战的影响,伊朗电影开始陷入低迷状态。在巴列维国王时期,第一次伊朗新电影浪潮由达鲁什·梅赫朱依的电影《奶牛》于1969年开启,在此期间,涌现了不少的佳作。1979年,霍梅尼领导的伊斯兰革命胜利之后,电影拍摄的“尺度”和题材均有所限制。伊朗电影一再遭遇打击,电影工作者在这种严苛的创作环境下走得异常艰难。也许因为电影审查制度严苛,伊朗电影没有展示给大众战争和杀戮的画面,也禁止色情,不崇尚好莱坞式科幻大片。这些敏感的主题,都是定时炸弹。伊朗电影工作者避开雷区,回归到人的本身。世界各国电影都有关于底层人民生活的拍摄,但是唯有伊朗电影的朴素真实让我们心生触动。在阿巴斯的长镜头里,我们学会等待,始终在原地等待,一望无际的大漠,没有尽头的蜿蜒小路,一遍又一遍循环往复。在伊朗影片中,那些普普通通的百姓,卑微的生存。伊朗电影因为宗教政治等原因不得不舍弃这些主题,电影镜头对准了人,关注的都是鲜活的生命个体和对人性的关怀。乔治·奥威尔表示过,你拒绝政治也是一种政治态度。他的观点不无道理,怎样在电影里处理好这种关系才是重要的。在伊朗影片里,谁能说这苦难的背后没有制度的因素,但是他们不同于我们,没有把罪恶都归于人吃人的社会,也没有程式化的血泪控诉。伊朗电影在具体的困境中,挖掘的是人的本性会指引他如何怀疑和选择,徘徊和不弃。伊朗第二次新电影浪潮现象与其社会背景、政治、宗教、文化以及经济都有着千丝万缕的联系。伊朗是一个政教合一的伊斯兰国家,伊斯兰文化中的各种清规戒律对伊朗电影的限制颇多,伊朗电影工作者堪称“戴着镣铐的舞者”。由于政治、宗教、经济等多种因素,诗意质朴的伊朗电影关注的视角多为儿童和女性,选取的故事一般都是平凡的人和事,以小见大,风格清新。本文引言部分主要探讨伊朗电影的研究现状和研究意义,第一章主要介绍新电影浪潮时期的伊朗社会背景,伊朗电影政策体制改革下的电影形态以及推动第二次新电影浪潮爆发的原因和作用。第二章梳理第二次新电影浪潮中的主要导演,呈现他们在伊朗新电影中的地位及影响。第三章着重分析伊朗新电影风格特色,探究导演以作者的身份参与电影活动,在虚幻与现实的边缘游走,意大利新现实主义对伊朗新电影的影响,儿童电影在成人视角下的影像风格。最后,归纳总结新电影浪潮成功的经验与启示,伊朗电影是世界影坛不可忽视的新力量之一。
[Abstract]:In 1906, Iran began to build the first film screening hall, after later development, the Iranian film industry has a certain scale. Under the influence of World War II, the Iranian film began to fall into a state of depression. The first wave of new Iranian films was opened in 1969 by Darusch Mehchoy's film Cow, during which a number of great works emerged. 1979. After Khomeini's victory in the Islamic Revolution, the film's "scale" and subject matter were limited. Iranian films were hit again and again. Filmmakers have struggled in this harsh environment. Perhaps because of the harsh censorship regime, Iranian films do not show images of mass war and killing, and pornography is banned. No Hollywood sci-fi blockbusters. These sensitive themes are time bombs. Iranian filmmakers avoid minefields and return to people themselves. Films around the world are about the lives of people at the bottom. But only the simplicity of the Iranian film touched our hearts. In Abbas's long shot, we learn to wait, always waiting in place, endless desert, endless winding path. Over and over again. In Iranian films, ordinary people, humble survival. Iranian films because of religious and political reasons have to abandon these themes, the film shot at people. It's all about living individuals and caring for humanity. George Orwell said that you're also a political attitude to politics. He's got a point. How to deal with this relationship in a movie is important. In an Iranian film, who can say that there is no institutional factor behind this suffering, but they are different from us, and they do not attribute evil to a cannibalistic society. There is no formalized blood and tears accusation. In the specific plight of Iranian film, it is the human nature that will guide him how to doubt and choose, wander and not abandon. Iran's second new film wave phenomenon and its social background. Politics, religion, culture and economy are inextricably linked. Iran is an Islamic country where religion and politics are integrated, and there are many restrictions on Iranian films under various disciplines in Islamic culture. Iranian filmmakers are called "chained dancers". Due to political, religious and economic factors, poetical Iranian films focus on children and women. The selected stories are generally ordinary people and things, through a small part of the whole, the style is fresh. The introduction of this article mainly discusses the current situation of Iranian film research and research significance. The first chapter mainly introduces the Iranian social background in the period of the New Film Wave. The film form under the reform of Iranian film policy system and the causes and functions of promoting the second new film wave. Chapter two combs the main directors in the second new film wave. The third chapter focuses on the analysis of the characteristics of the new Iranian film style, explores the director as an author to participate in the film activities, wandering on the edge of fantasy and reality. The influence of Italian neo-realism on the new Iranian film and the image style of the children's film from the adult perspective. Finally, summarize the successful experience and enlightenment of the new film wave. Iranian film is one of the new forces which can not be ignored in the world film world.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J909.373

【参考文献】

中国期刊全文数据库 前10条

1 慈祥;;并非只是儿童电影:论马吉德·马吉迪的儿童电影[J];电影新作;2014年05期

2 王锋;;感悟波斯 解读伊朗[J];民族艺林;2014年01期

3 张新贤;;伊朗儿童电影的崛起对我国电影艺术创作的启示[J];电影评介;2012年14期

4 朱靖江;;伊朗电影为什么这么火[J];中国新闻周刊;2011年07期

5 陈明华;;伊朗电影的本土化救赎之路[J];电影文学;2008年14期

6 伊强;;伊朗电影的纪录特色——以阿巴斯·基亚罗斯塔米电影为例[J];泉州师范学院学报;2008年03期

7 林国淑;余佳丽;;“看得见”和“看不见”的伊朗电影[J];电影评介;2008年05期

8 王莹;;伊朗伊斯兰共和国政体制度探析[J];历史教学(高校版);2008年01期

9 王明;;伊朗电影中的人文观念[J];电影文学;2007年10期

10 安燕;;天地有大美而不言——伊朗电影美学观初探[J];电影评介;2006年13期

中国硕士学位论文全文数据库 前9条

1 毛睿;“作者论”视角关照下的阿巴斯·基亚罗斯塔米电影[D];西安建筑科技大学;2014年

2 郭焱;阿巴斯电影的多重时空建构[D];西藏民族学院;2014年

3 尹U，

本文编号：1462548