论贾樟柯的电影作者身份

发布时间：2018-03-19 01:12

本文选题：贾樟柯　切入点：电影　出处：《复旦大学》2014年硕士论文　论文类型：学位论文

【摘要】：本论文借助作者理论和写实主义电影理论的观点来解读贾樟柯的电影作品,通过识别其作品中的“作者身份”痕迹对其作品中的导演技巧、个人风格以及内部意义达成深刻理解。贾樟柯的电影作品以“作者”概念整合文本,导演个人所专注的“变化”主题贯穿始终,有意识地构建起电影的序列,并通过具有个人辨识性的电影技巧在影片中彰显其“作者评论”。同时,将贾樟柯的“作者身份”放入历史性、社会性以及全球化、产业化的环境中来考察,也能对其作者身份的成长和中国艺术电影的发展有所观照。本论文对贾樟柯电影作者身份的思考和探讨主要从以下几个方面展开：第一章溯源作者理论,梳理该理论框架及主要观点,并结合写实主义电影理论阐释其方法论意义,指出本论文研究方法的合理性。第二章至第四章主要从电影素材与主题、方法、形式方面入手,阐释贾樟柯电影中的作者痕迹,从导演作为电影的作者整合文本,在电影中凸显作者评论和电影中若干与作者有关的惯例三个方面展开讨论,结合影片进行细致的电影文本分析,以期呈现贾樟柯电影作为作者电影的全貌。贾樟柯的电影时空一直专注于对现实“变化”这一属性的表现,并致力于传达不同于以往电影和文学作品的乡愁体验,创作中秉持的平民意识也使其电影在一种悲观主义的人文关怀中树立起自己的作者身份并以此整合其电影作品。贾樟柯的影片采用了现实性的叙事结构,突出地使用了长镜头、固定机位摄影、超现实片段穿插以及声音和音乐的配合来凸显其作为一个写实主义导演的作者评论。贾樟柯作者身份的确立还有赖于迷影文化对于艺术电影作者的指认与支持,以及其对自己电影序列有意识地建构,对影史上经典电影、作者乃至文学作品的互文与借鉴。第五章将贾樟柯定位为一位成长中的电影作者,总结其在官方意识形态限制和全球化的电影工业生产背景下独特的创作道路,探讨其对中国艺术电影创作与发展的实践,从而在结语部分就整个中国艺术电影发展提出建议。
[Abstract]:With the help of author's theory and realistic film theory, this paper interprets Jia Zhangke's film works, and points out the director's skill in his works by identifying the trace of "author's identity" in his works. A profound understanding of personal style and internal meaning is reached. Jia Zhangke's film works integrate the text with the concept of "author", and the "change" theme of the director's personal focus runs through all the time, consciously constructing the sequence of films. At the same time, Jia Zhangke's "author identity" is put into the historical, social, globalization and industrialization environment. It can also reflect the growth of the author's identity and the development of Chinese art film. This thesis mainly discusses Jia Zhangke's author's identity from the following aspects: the first chapter is the author's theory of tracing to the source. Combing the theoretical framework and main viewpoints, and combining the realistic film theory to explain its methodological significance, this paper points out the rationality of the research method. Chapter two to 4th mainly from the film material and theme, method, form, start. The author traces in Jia Zhangke's films are explained and discussed from three aspects: the director, as the author of the film, integrates the text, highlights the author's comments in the film and several conventions related to the author in the film. Combining the film with detailed film text analysis, in order to present Jia Zhangke's film as the full picture of the author's film, Jia Zhangke's film space and time have always focused on the expression of the attribute of "change" of reality. And dedicated to conveying homesickness that is different from previous films and literary works, The consciousness of the common people in his creation also makes his film establish his own authorship in a kind of pessimistic humanistic concern and integrate his film works. Jia Zhangke's film adopts a realistic narrative structure and uses the long lens prominently. Fixed-space photography, surreal clips and the combination of sound and music highlight his comments as a realist director. Jia Zhangke's establishment of his authorship also depends on the identification and support of the fan culture for artistic filmmakers. And his conscious construction of his film sequence, the intertextuality and reference of classical films, authors and even literary works in the film history. Chapter 5th defines Jia Zhangke as a growing film author. This paper summarizes its unique way of creation under the background of the restriction of official ideology and the globalized production of film industry, probes into its practice in the creation and development of Chinese art films, and puts forward some suggestions on the development of Chinese art films in the conclusion part.
【学位授予单位】：复旦大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

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