贾樟柯电影中的底层叙事研究

发布时间：2018-03-28 22:01

本文选题：底层　切入点：贾樟柯　出处：《华东师范大学》2014年硕士论文

【摘要】：九十年代特殊的全球化社会语境,为贾樟柯等“第六代”导演提供了一个难得的登场机会。作为“第六代”导演中日渐成熟的创作型导演,贾樟柯自觉的艺术追求、自觉的“底层代言”冲动使他在“新生代”电影人中走得最远也最具代表性。其影片冷峻纪实的电影风格、对中国底层社会的客观白描是获得西方电影节盛誉的重要原因。本文以时间为线索,以贾樟柯“地下电影时期”与“浮出地表”两个时期的代表性影片为分析素材,借助赛义德东方主义理论以及叙事学方法,试图对贾樟柯电影进行细致的叙事文本研究,考察在客观纪实的叙事下其电影的东方主义表现。第一章绪论部分从贾樟柯电影的形象分析、市场营销、电影叙事、电影美学等方面介绍了贾樟柯电影的研究现状。第二章“故乡三部曲”时期电影叙事分析；本章论述了从一炮而红的《小武》及至《站台》、《任逍遥》,贾樟柯以碎片化记录策略与史诗叙事结构作品,将底层世界的贫穷、堕落的原因间接地归于了底层自身——这成为贾樟柯放映当代社会的主要手法；同时论述了贾樟柯潜在的“意象恋物”与对内、对外的双重叙事策略。他以中国西部内陆的落后状态作为表现对象,底层的功能在其电影中变得暖昧。第三章继续考察贾樟柯走出“故乡”时期的影片叙事。虽经历了由“地下”到“地表”的巨大转变,贾樟柯聚焦的仍旧是社会底层民众的危机。浮出地表后贾樟柯以独树一帜的形式探索挑战观众预期,国际化符号成为《世界》最显眼的标志。其叙事模式由“故乡三部曲”中离散的碎片化叙事走向《三峡好人》、《天注定》中的板块化叙事。浮出地表后的贾樟柯,故乡经验资源耗尽,美学上也同样遇到困境,这导致他对其他经验资源的改编也出现重大变化,最终走向了描绘压迫与暴力。其影片中主角多是落后东方压抑下的异化人,并且处于一种非正常状态。与影片萧条的内地票房相反,底层导演贾樟柯在极其成功的商业运作基础上取得了商业上的巨大成功。同时,对其电影也有着争议之处,贾樟柯的“底层奇观”作为“他者”被用于补足西方对中国的预期,其以西方获奖为标准的东方主义化心态是有待改变的。
[Abstract]:The special global social context of the 1990s provides a rare opportunity for Jia Zhangke and other "sixth generation" directors to make their debut. As an increasingly mature creative director among the "sixth generation" directors, Jia Zhangke consciously pursues art. His conscious impulse to "underlevel endorsement" made him the furthest and most representative of the "new generation" filmmakers. The objective description of China's underclass society is an important reason for gaining the reputation of western film festivals. This paper takes time as the clue and takes Jia Zhangke's representative films of "Underground Film period" and "surfacing the Surface" as the analysis material. With the aid of said Orientalism theory and narratology, this paper attempts to study the narrative text of Jia Zhangke's films and investigate the orientalism performance of his films under the objective documentary narration. The first chapter introduces the current situation of Jia Zhangke's films from the aspects of image analysis, marketing, film narration, film aesthetics and so on. This chapter discusses how Jia Zhangke, from "Xiaowu" to "platform" and "Ren Xiaoyao", put poverty at the bottom of the world by means of piecemeal recording strategy and epic narrative structure. The reason of depravity is indirectly attributed to the bottom itself, which has become the main technique of Jia Zhangke's projection of contemporary society, and it also discusses Jia Zhangke's potential "image love" and its internal relations. He takes the backward state of western China's interior as his object of expression. In the third chapter, we continue to investigate Jia Zhangke's narration in the period of "hometown". Although he has undergone a great transformation from "underground" to "surface", Jia Zhangke is still focusing on the crisis of the people at the bottom of society. When he surfaced on the surface, Jia Zhangke explored and challenged audience expectations in a unique way. The internationalized symbol has become the most conspicuous symbol of the World. Its narrative pattern has changed from the fragmented narrative in the hometown Trilogy to the "good people in the three Gorges" and the "doomed days" to the "group narration" in which Jia Zhangke emerged from the earth's surface. In his hometown, he ran out of experience resources and also encountered difficulties in aesthetics, which led to great changes in his adaptation of other experience resources, and eventually led to the depiction of oppression and violence. The main characters in his films were mostly alienated people who were suppressed by the backward East. And is in an abnormal state. Contrary to the film's depressed mainland box office, underlying director Jia Zhangke has achieved great commercial success on the basis of extremely successful commercial operations. At the same time, there are also controversies about his films. Jia Zhangke's "bottom wonders" are used as "other" to complement the western expectations of China, and his Orientalism mentality, which is based on the western award winning criteria, needs to be changed.
【学位授予单位】：华东师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

【参考文献】