男性意识下的女性世界—成濑巳喜男与今村昌平的女性电影比较

发布时间：2018-03-31 17:11

本文选题：成濑巳喜男　切入点：今村昌平　出处：《浙江大学》2014年硕士论文

【摘要】：成濑巳喜男和今村昌平恰好代表了日本女性电影的两种倾向。成濑巳喜男继承了五所平之助、小津安二郎的价值体系,再加上自己的悲观主义,形成了自己的风格。而今村昌平受西方文化影响,大胆质疑和颠覆前辈的理论体系。成濑巳喜男的电影大多讲述女性悲剧命运,人物简单,线索也不复杂,多是在室内拍摄,拍摄周期较短,而今村昌平野心巨大,场景丰富,人物复杂,拍摄成本高。前者风格稳定,成本适中,懂得变通,拍摄某种有稳定观众群的主题的电影；后者格调清高,执着于艺术追求,拍摄的作品却无法受到大多数观众的认同。前者显然更受制片方的青睐,而后者可能在艺术上获得更高的成就。他们的电影差异首先体现在人性观上：成濑巳喜男认为人是社会动物,社会中的道德和法律约束着人的本性,他的女主角几乎个个温柔坚强,忍辱负重,虽然遭遇不幸但从不放弃,身处逆境但仍坚持道德底线,以至于将幸福拒之门外,拥有东方男性审美下的一切女性美德,仿佛出淤泥而不染的“白莲花”；今村昌平显然是不同意这种观点的,在他看来,人与其他动物并无本质区别,除了“生、死、性”以外便无其他,他秉承的是西方“人性原罪”(0riginal Sin)的观点,“像动物一样活着”才是人类生存的本质。从美学追求上来说,成濑巳喜男崇尚禅宗的幽静美,而今村昌平恐怕要被归为审“丑”行列。这种差异也体现在了演员选择、音乐处理、片名选用、对情＼性爱场面描写等各个层面。在叙事上,成濑巳喜男的故事线索十分简单,缺少变化,则往往呈现出“圆形叙事”的特质。今村昌平的故事内涵丰富,注重戏剧冲突,讲究情节曲折,具有传奇色彩,情节分散在多组人物身上,通常具有多条叙事线索。在镜头语言方面,成濑巳喜男的调度比较循规蹈矩,而今村昌平在镜头语言上十分有想象力,经常创作出令人印象深刻的镜头。
[Abstract]:Seto Seisi and Imamura Shohei exactly represent the two tendencies of Japanese women's films. Seto Seisi inherits five Hirahiro Hirahiro's value system, plus his own pessimism. His own style was formed. And Imamura Shohei, influenced by Western culture, dared to question and subvert the theoretical system of his predecessors. Most of the Seto Seisi's films relate to the tragic fate of women. The characters are simple, the clues are not complicated, and most of them are shot indoors. The shooting period is short, and Imamura Shohei is ambitious, rich in scenes, complex in characters, and high in cost. The former has a stable style, moderate cost, knows how to work with a certain theme with a stable audience; the latter has a fine style. Clinging to the pursuit of art, the work was not recognized by the majority of the audience. The former was obviously more popular with the producers. The latter are likely to achieve higher artistic achievement. Their film differences are primarily reflected in their view of human nature: Seto Seutsi thinks that man is a social animal, and that morality and law in society govern human nature. Almost all of his heroines are gentle and strong and bear with shame. Although they encounter misfortune but never give up, they still adhere to the moral bottom line in adversity, so that they shut out happiness and have all the female virtues of the Oriental male aesthetic. It was as if there were "white lotus flowers" that were muddy and unstained; and Imamura Shohei obviously disagreed with this view. In his view, there was no essential difference between man and other animals, and there was no such thing as "life, death, sex". He holds the view that "living like an animal" is the essence of human existence. In terms of aesthetic pursuit, Cheng Seto Xi Nan advocates the quiet beauty of Zen. And Imamura Shohei is probably going to be classified as the "ugly" category. This difference is also reflected in the choice of actors, music processing, film title selection, depiction of love / sex scenes, and so on. In narration, the storyline of Seto si is very simple. In the absence of change, the character of "circular narration" is often presented. Imamura Shohei's story is rich in connotation, focuses on dramatic conflicts, stresses the twists and turns of the plot, and has a legendary color. The plot is scattered over many groups of characters. In terms of lens language, Seto si's schedule is more regular, while Imamura Shohei is very imaginative in lens language and often creates impressive shots.
【学位授予单位】：浙江大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

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