中国电影奇观理论研究

发布时间：2018-02-21 02:00

本文关键词： 奇观电影奇观电影奇观理论　出处：《中国传媒大学》2013年硕士论文　论文类型：学位论文

【摘要】：近年来，媒体和信息技术联手打造出一个又一个媒体奇观，围绕电影而建构的奇观更是层出不穷，以新的文化形式侵入人类的日常生活和思想意识。面对当今视觉文化的奇观化冲击，国内学界在西方奇观理论的影响下，也开始从奇观的视角来探讨潜隐于电影文本内外的种种问题，并且研究的热度逐渐升温。有鉴于此，本文力图在梳理与把握中国电影奇观理论研究的状况和问题的基础上，作出一定的理论性建构，以期对国内电影理论研究的发展贡献自己的力量。文章的绪论主要介绍了研究的背景与现状，阐明了本文的写作思路与目的。第一章，着重分析了中国电影奇观理论形成的背景与原因。首先，对西方电影奇观理论的内涵与发展作出简要的论述；其次，对中国电影奇观理论的形成过程进行历时性的梳理；最后，从理论环境与创作实践两个角度具体分析了这一理论兴起所特有的原因。第二章，主要对中国电影奇观理论的话语表现形态进行详细阐释。在总结这一研究的主要特征的基础上，将其划分为美学、接受、意识形态等几种话语场域，并且对其逐一进行研究，以揭示该理论研究在不同话语场域中所呈现出来的特征、问题与局限。第三章，从研究障碍和理论意义两个方面对中国电影奇观理论作出一定的价值判断。首先，归纳并探讨了中国电影奇观理论研究中存在的三个问题：使用的泛化、名称的分歧和范围的局限；其次，阐述了电影奇观研究作为一种新的理论研究范式对于中国电影理论的发展的积极意义。文章最后，，在对中国电影奇观理论的研究状况进行总结的基础上，提出了几点建议。
[Abstract]:In recent years, the media and information technology have worked together to create one media spectacle after another, and the wonders built around the film have emerged one after another. The new cultural form intrudes into the daily life and ideological consciousness of human beings. In the face of the impact of the spectacle of visual culture today, the domestic academic circles are under the influence of the western spectacle theory. It also begins to explore the problems hidden inside and outside the film text from the perspective of spectacle, and the research heat gradually heats up. In view of this, this paper tries to sort out and grasp the status and problems of the theoretical research of Chinese film spectacle. To make a certain theoretical construction, in order to contribute to the development of domestic film theory. The introduction mainly introduces the background and present situation of the research, and expounds the thinking and purpose of this paper. The first chapter focuses on the background and reasons of the formation of Chinese film spectacle theory. Firstly, it briefly discusses the connotation and development of western film spectacle theory; secondly, The formation process of Chinese film spectacle theory is analyzed diachronically. Finally, from the perspective of theoretical environment and creative practice, the author analyzes the specific reasons for the rise of this theory. The second chapter mainly explains the discourse form of Chinese film spectacle theory in detail. On the basis of summarizing the main characteristics of this study, it is divided into several discourse fields, such as aesthetics, acceptance, ideology and so on. In order to reveal the characteristics, problems and limitations of the theoretical study in different discourse fields. In the third chapter, the author makes a certain value judgment on Chinese film spectacle theory from two aspects of research obstacles and theoretical significance. Firstly, it summarizes and discusses three problems in the research of Chinese film spectacle theory: generalization of use. Secondly, it expounds the positive significance of film spectacle research as a new theoretical research paradigm for the development of Chinese film theory. Finally, on the basis of summarizing the research situation of Chinese film spectacle theory, some suggestions are put forward.
【学位授予单位】：中国传媒大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J90

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