表现主义视阈下北野武“分身三部曲”电影研究

发布时间：2018-03-26 16:11

本文选题：北野武　切入点：表现主义　出处：《西南大学》2017年硕士论文

【摘要】：自20世纪90年代以来,日本在电影方面呈现出一种新的特点,那就是将暴力与抒情实现完美的结合,一大批影片以此为创作趋势应运而生,为日本的电影制作开创了新的局面,增添了新的血液。曾经有评论者对日本人的性格给予这样的评价:“由于长期经受精神上的摧残以及身体上的伤害,日本人就会反映出其极端冲突的性格。在经历开始之初,日本人表现出极大的忍耐性,他们可以默默地卑躬屈膝地忍受着一切,然而终有一天忍耐性到达极限,便会以迅雷不及掩耳之势完全释放出来,可以说此时他们完全失去理智,这就是日本人的性格使然。”日本著名电影导演北野武将这种新风格在其作品中充分地体现了出来,让观众们尽情欣赏着暴力与抒情的融合,感受着心灵的强大震撼与撞击。在北野武早期的作品《凶暴的男人》中,就体现出一种新颖的暴力美学风格。然而北野武事业走上巅峰后却拍摄了与其以往作品风格迥异的“分身三部曲”,即《双面北野武》《导演万岁!》《阿基里斯与龟》,在这三部作品中,北野武将作品中的抽象性与荒诞性表现得淋漓尽致,让观众发挥想象力,去理解真实与虚构之间的异同。而这也正是北野武导演表现主义美学的表征。追根溯源,表现主义其实是一种诞生于先锋主义绘画的思潮。表现主义极力反对用自然手法对客观事实进行描摹,他们追求的是一种“赤裸内心”的表达与描摹,往往利用抽象的,荒诞的以及夸张的手法处理色彩和构图以强调内心为主观感受和画面情绪表现力度,继而生成了以变异、夸张、尖锐、荒诞、黑色化为显著特征的“表现主义美学”。北野武的“分身三部曲”有着明显的“表现主义”的特征。在本文中,笔者尝试着运用这种独特的表现主义的手法,对著北野武的“分身三部曲”进行深度解读与分析,从而对北野武导演的创作风格以及其漫长的电影艺术生涯进行更加深刻的了解与探讨。在对电影世界的学习中,抒发和表达是永恒的课题,需要深入研究与思索。而北野武导演在其走过的漫长的电影艺术的道路上,不断打破个人固有的身份标签,对个人创作手法和艺术表达进行重新反思和定位,所以在电影创作手法方面,北野武导演可谓是国内外电影创作者学习和借鉴的榜样。本文笔者也是斗胆从微观角度以及关联逻辑方面对北野武导演的“分身三部曲”进行深层次的解读和分析,希望能够从北野武导演的电影风格中挖掘出更多值得我们这些后辈借鉴和学习的资料,从而整理成系统的机理。从某些方面来看,这既可以对北野武导演电影的研究进行资料的丰富,也可以说是对表现主义美学理论的一个新拓展,与此同时,也希望能够通过对此次课题的研究,为我国表现主义研究领域开拓一个全新视角,为今后的研究抛砖引玉。
[Abstract]:Since the 1990s, Japan has shown a new feature in the field of film, that is, the perfect combination of violence and lyricism. A large number of films have emerged as the creation trend and created a new situation for Japanese film production. New blood has been added. Some commentators have commented on the character of the Japanese: "as a result of a long period of mental devastation and physical injury, the Japanese will reflect their extreme conflict character... at the beginning of the experience," The Japanese showed great patience. They could put up with everything in silence. But one day, when patience reached its limit, it would be completely released in a thunderbolt, and it could be said that they were completely irrational at this time. "... This is the character of the Japanese. "the famous Japanese film director Takeshi Kitano has fully embodied this new style in his works so that the audience can enjoy the fusion of violence and lyricism. Feel the strong shock and impact of the soul. In the early works of Takeshi Kitano, "violent Man", It reflects a novel aesthetic style of violence. However, after Kitano's career reached its peak, he shot a trilogy that is very different from his previous works, namely, "Dual-sided Kitano" and "long live the director!" "Achilles and Turtles", in these three works, Kitano shows the abstractness and absurdity of the works vividly and vividly, and makes the audience give full play to their imagination. To understand the similarities and differences between reality and fiction. And this is the representation of the expressionist aesthetics of director Kitano. Expressionism is actually a trend of thought born in vanguard painting. Expressionism strongly opposes the use of natural methods to describe objective facts. What they pursue is the expression and portrayal of "naked innermost", often using abstract. Absurd and exaggerated methods of dealing with color and composition to emphasize the inner feelings of subjective feelings and emotional performance of the picture, and then generated by variation, exaggeration, sharpness, absurdity, "Expressionist aesthetics", which is characterized by black, has obvious characteristics of Expressionism in Kitano's trilogy. In this paper, the author tries to use this unique expressionist technique. In the course of studying the film world, the author makes a deep interpretation and analysis of Kitano's trilogy, so as to have a deeper understanding and discussion of his creative style and his long film art career. Expressing and expressing is an eternal subject, which needs to be deeply studied and pondered. But in the long road of film art, director Takeshi Kitano has constantly broken the inherent identity label of the individual. Rethinking and positioning personal creative techniques and artistic expressions, so in terms of film creation techniques, Director Kitano can be described as an example for film creators at home and abroad to learn and learn from. The author of this paper also has the courage to interpret and analyze Kitano's trilogy from the angle of microcosmic and relevance logic. I hope to be able to dig out more materials worth learning from the film style of director Kitano, so as to sort out the mechanism of the system. From some aspects, This can not only enrich the material for the study of the director films of Kitano, but also can be said to be a new development of the expressionist aesthetic theory. At the same time, it is also hoped to be able to study this subject. To open up a new perspective for the field of Expressionism in our country, and to offer a reference for the future research.
【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】：J911

【参考文献】