恐怖之禅的现代呈现：日本恐怖电影1954-1964

发布时间：2018-02-04 00:01

本文关键词： 日本恐怖电影现代呈现自我建构文化特质　出处：《陕西师范大学》2013年硕士论文　论文类型：学位论文

【摘要】：作为类型艺术的一个重要分支,恐怖艺术在中西方世界都有着悠久的历史。尽管在传统话语中,恐怖艺术一直处于边缘地位,常常被人认为是充满“怪力乱神”的无稽之谈。然而,如果对恐怖艺术做一个细致的解剖,就不难发现恐怖艺术并非是恫吓与恐惧那么简单。人类对怪物创造的热情从西方的吸血鬼、狼人到充满东方色彩的女鬼狐妖,这种对外在他者的想象性创造,一度作为恐怖艺术的经典主题。人类通过怪物来界定自我,因而,怪物作为自我的镜像显现。诚然,文化可以透过它对怪物的再现而被诠释,①这恐怕正是恐怖艺术最重要的意义所在。上世纪50到60年代,世界影坛出现了大量的恐怖电影,恐怖电影进入前所未有的黄金时期。与此同时,日本也开始出现大量的现代恐怖电影,并以其独树一帜的题材、表现手法和艺术特色在世界恐怖电影的版图内享有盛名。此时的日本恐怖电影不仅继承了古典怪谈传统,还开创出怪兽、怪物等新类型。故此,本文以1954年到1964年之间日本恐怖电影为蓝本,对这十年间的文化思潮转向进行梳理,并试图将其放置于东西方政治-文化的广阔语境中进行参差比较,从而描绘出日本民族性格与心灵在文化、心理、政治、娱乐、叙事等方面的特质。论文分为三个部分。第一部分主要对艺术中的“恐怖”审美进行界定,分别从精神分析、认识论以及美学史三个维度展开探讨。第二部分以三个具有代表性的日本恐怖电影文本,分别从人、兽、鬼三个角度对战后日本恐怖文化的根源、转向以及特质进行梳理,在日本民族集体遭受到战争的挫败感、传统文化和神的信仰的失落的情况下,对其中建构起来的自我身份进行文化解读。第三部分旨在探讨日本恐怖电影中作为他者的怪物对于自我建构的意义,并对日本恐怖电影隐藏在怪物文化背后的民族心灵特质进行归纳。
[Abstract]:As an important branch of genre art, the art of terror has a long history in both China and the West, although in the traditional discourse, the art of terror has always been marginalized. It is often thought of as a nonsense full of "freaky disarray". However, if you do a detailed dissection of the art of terror. It is not difficult to find that the art of terror is not so simple as intimidation and fear. Human enthusiasm for monster creation ranges from Western vampires, werewolves to oriental female foxes, this imaginative creation of others. Once as the classic theme of the art of terror. Human beings define themselves through monsters, thus, monsters appear as mirror images of themselves. Indeed, culture can be interpreted through its reappearance of monsters. I am afraid this is the most important meaning of the art of terror. From 0th century to 60s, there were a large number of horror films in the world, horror films entered an unprecedented golden age. At the same time. Japan also began to appear a large number of modern horror films, and its unique theme. At this time, the Japanese horror film not only inherited the tradition of classical monstrosity, but also created a new type of monster, monster, and so on. Based on the Japanese horror film from 1954 to 1964, this paper combs the cultural trend of thought in this decade. And try to put it in the wide context of eastern and western political-cultural, so as to describe the Japanese national character and soul in culture, psychology, politics, entertainment. The article is divided into three parts. The first part mainly defines the aesthetic of "terror" in art, respectively from the spiritual analysis. Epistemology and aesthetic history of the three dimensions to explore. The second part of the three representative Japanese horror film texts, respectively from the human, animal, ghost three perspectives of the root causes of post-war Japanese terror culture. Under the circumstances of the defeat of the war, the loss of the traditional culture and the belief of God, the Japanese national collective suffered the frustration of the war and the loss of the traditional culture and the belief of God. The third part is to explore the meaning of the monster as the other in the Japanese horror film. And the Japanese horror film hidden in the monster culture behind the national spiritual characteristics were summarized.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J909.313

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