1990年代以来好莱坞灾难片影像表意的美学构建及其审美效应研究

发布时间：2018-02-03 01:36

本文关键词： 美学构建影像表意多模态话语分析审美效应灾难电影　出处：《东北师范大学》2017年硕士论文　论文类型：学位论文

【摘要】：1990年代电影数字技术融入影像肌理,“虚拟”构建影像的现实与“超现实”,表意模态、审美体验愈加丰富。同一时期,多模态话语分析理论应运而生,与“社会文化”与“心理认知研究”共同构成了对表意系统化类型美学的建构逻辑。全球视野是中国文化“走出去”的基础,在全球文化竞争的格局中,电影作为文化输出的重要载体,好莱坞是中国电影必须要面对的强敌。因此从主题先行,到文化认同先行,建构“本土创作与全球观众审美的理性互动机制”尤为重要。本文以我国输入/输出比重最为悬殊的灾难片为核心,以1990年代好莱坞灾难电影为对象,以作为“意义潜势”的社会文化语境为起点,以多模态话语研究框架中的研究结构为参考,建立表意和认同的互动认知的审美秩序,进一步完成灾难电影的类型美学构建。笔者从美学及文化体系中建立审美效应的视角,以多模态话语“交际、语境、语篇”三大元功能为基础,形成以多模态话语意义潜势为核心,以审美效应为依据、以影像表意逐层深入的创作策略为层次,系统化构建灾难的电影美学结构体系。第一章,对灾难类型本体进行系统化的梳理,以审美的文化导向来建构灾难片题材体系。深度解析1990年代以来,好莱坞灾难电影多元共生的文化语境。第二章,以审美互动效应为依据,探索表意系统与审美认同规律的美学逻辑;接下来笔者以审美的镜像效应为导向,建构灾难片原型意象结构及母题内涵。利用结构主义符号学和精神分析原理,构建神话母题秩序与后现代“书写”,进一步探索灾难电影的原型意象体系;从影像表意的最小元素入手,以社会文化精神镜像和自我心理投射为依据完成审美效应的美学递归。第三章,笔者从知觉表意单元入手,以审美感官震撼的知觉效应建构灾难片故事及思想概念的再现意义。以多模态话语中的再现功能为原理,探索感官体验审美效应导向的灾难片故事及思想的美学构建。第四章,以审美的情绪认知效应为核心,以多模态话语的互动理论为依据,运用认知符号学的方法论将接触、距离、态度、情态等原理,转化为影像表意中视点的认知图式、艺术化情绪张力递归模型的研究视角,激活情节与情感、记忆与认知的审美效应。第五,以意识形态机制为切入点,深入全球文化语境,解析好莱坞跨文化表意策略,解读好莱坞灾难片如何成功的将表意元素传递给中国受众,辨析文化表征背后的霸权“阴谋”,树立思辨的好莱坞研究观。笔者以“电影理论、电影史观、电影批评”相融合的视听艺术史论多元互动研究思路,以积极辩证的好莱坞研究立场,形成指向实践创作的动态开放理论创新。
[Abstract]:In the 1990s, the digital film technology was integrated into the image texture, the reality of "virtual" construction image and "surreal", the mode of meaning and aesthetic experience more and more abundant. At the same time, the theory of multi-modal discourse analysis came into being. Together with "social culture" and "psychological cognition research", it constitutes the constructive logic of the esthetics of ideographic systematization type. The global perspective is the foundation of Chinese culture "going out", and it is in the pattern of global cultural competition. As an important carrier of cultural output, Hollywood is a strong enemy that Chinese films must face. Therefore, from theme first to cultural identity first. It is particularly important to construct a rational interactive mechanism between local creation and the aesthetic appreciation of the global audience. This paper focuses on the disaster film which has the highest proportion of input / output in China and takes Hollywood disaster film in the 1990s as the object. Taking the sociocultural context as the "potential of meaning" as the starting point and the research structure in the framework of multi-modal discourse research as the reference, the aesthetic order of the interactive cognition of ideographic meaning and identity is established. From the perspective of aesthetic and cultural system, the author establishes the aesthetic effect on the basis of the three metafunctions of multi-modal discourse "communication, context and discourse". The formation of multi-modal discourse potential as the core, based on aesthetic effects, with the image of the depth of the creative strategy for the level, systematic construction of the disaster of the aesthetic structure system. Chapter 1. This paper systematically combs the Noumenon of disaster types, constructs the disaster film theme system with the aesthetic cultural orientation, and deeply analyzes the cultural context of Hollywood disaster film since 1990s. Chapter two. Based on the aesthetic interaction effect, this paper explores the aesthetic logic of the ideographic system and the law of aesthetic identity. Then the author constructs the image structure of disaster film prototype and the connotation of motif, and constructs the order of mythical motif and post-modern "writing" by using structuralism semiotics and psychoanalysis principle. Further explore the prototype image system of disaster film; Starting with the minimum elements of the image, the aesthetic recursion of aesthetic effect is completed based on the sociocultural spiritual mirror image and self-psychological projection. Chapter three, the author starts with the unit of perceptual ideographic meaning. Using the perceptual effect of aesthetic sense shock to construct the reproduction meaning of disaster film story and the concept of thought, with the principle of reproducing function in multi-modal discourse. Explore the aesthetic construction of disaster film stories and thoughts guided by aesthetic experience. 4th chapter, with aesthetic emotional cognitive effect as the core, based on the interactive theory of multi-modal discourse. By using the methodology of cognitive semiotics, the principles of contact, distance, attitude and modality are transformed into the cognitive schema of view point in image representation, the visual angle of artistic emotional tension recursive model, and the activation of plot and emotion. The Aesthetic effect of memory and Cognition. 5th, with ideological Mechanism as the starting Point, penetrating into the Global Cultural context and analyzing Hollywood's Cross-cultural ideographic Strategies. Explain how Hollywood disaster film successfully conveys the elements of ideographic meaning to the Chinese audience, discriminates and analyzes the hegemonic "conspiracy" behind the cultural representation, and sets up a speculative view of Hollywood study. The author uses "Film Theory, Film History View". Film criticism "the combination of audio-visual art history theory multi-interactive research ideas, with an active and dialectical Hollywood research position, to form a dynamic and open theoretical innovation pointing to practical creation."
【学位授予单位】：东北师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J901

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