身体美学视野下的徐克电影

发布时间：2018-04-13 19:32

本文选题：徐克电影 + 身体美学　；参考：《昆明理工大学》2014年硕士论文

【摘要】：在当代的电影艺术界,徐克这个名字都是一个不可忽视的存在。作为一位曾经游学西方、具有一定的西方文化背景的中国导演,其影视作品融入了西方电影的很多文化因素,消弭了东西方文化之间的藩篱,以绚丽丰富的色彩、新潮大胆的思路、独特一流的技术和波诡云谲的风格,在纷杂的香港影坛独树一帜,也赢得了世界性的声誉。身体美学是近年来兴起的后现代主义思潮的一个分支,是一种运用美学的基本观点、以身体作为研究对象(主体和客体)学科。作为一种新兴的艺术形式,电影电视艺术将身体美学的研究和应用推向了一个新的阶段。其实,在徐克的电影中,身体美学的呈现就无处不在。从早期的《鬼马智多星》中麦嘉的古灵精怪,到后来《青蛇》电影中张曼玉的婀娜多姿,再到黄飞鸿的有板有眼,以及近年来狄仁杰系列电影中身体的精彩呈现,我们可以看到,“身体”几乎是徐克电影叙事中一条隐藏的主线,对于电影剧情的推动功不可没。因此,从一定程度上而言,电影中身体的呈现方式,直接关乎电影的成败,关乎一个导演的美学思想。而对于电影作品的评价赏析过程中,对于“身体”这一形象的关照和解读就显得尤为重要。而随着后现代主义思潮的涌动,理性的身体被感性的身体所取代,生命个体获得了前所未有的解放和自我实现的需要,这使得电影艺术和现实中的身体,有了时空上的交集和置于同一体系中研究的可能性。本文通过运用国内外身体美学研究方面的成果,尤其是舒斯特曼的身体美学观点、尼采权力意志等所生发出来的有关身体美学的理论、福柯等人有关身体的思想论述以及基于医学角度的身体美学和技术角度的身体美学等身体美学理论,分别从身体的呈现形式、身体的束缚与打破、身体与权力意志的关系、身体的归属等方面,对徐克电影中的身体呈现特征和结构进行研究,最后得出结论,徐克前期的作品,身体意识相对较弱。尽管其通过最为先进的特技开发和呈现了身体的表现力,但是这种呈现还处于无意识的状态,是一种初级尝试,因此显得有些生硬和多余；而中期是徐克作品中身体意识觉醒的关键时期,身体的呈现也打破了原有的困局。这主要表现在特技和身体的结合更加娴熟、自然和得体,身体呈现的美学效果更加丰满、突出和达到较高的水准,因此也造就了《青蛇》《黄飞鸿系列》《新龙门客栈》《笑傲江湖》等一批经典之作,形成了自己独有的奇谲、逼真、表现得体、想象丰富的身体美学风格；而在最近几年,徐克电影却在有意淡化身体,将其置于一个更大的时空背景下来进行表达,尤其是特技的使用,也更加国际化和高标准化,身体美学的呈现上更加商业化。但是,过于注重技术所带来的美学效果,也使得他丧失了自己原来在情节叙事上和身体表现上的一些优势和特色。
[Abstract]:In the contemporary film art world, the name Hark is a can not be ignored existence.As a Chinese director who had traveled to the West and had a certain Western cultural background, his film and television works were incorporated into many cultural factors of western films, thus removing the barriers between eastern and western cultures, with a gorgeous and rich color.New bold ideas, unique first-class technology and strange style, unique in the complex Hong Kong film world, but also won a worldwide reputation.Body aesthetics is a branch of postmodernism which has arisen in recent years. It is a basic viewpoint of applying aesthetics and regards body as the subject of study (subject and object).As a new art form, the art of film and television brings the research and application of body aesthetics to a new stage.In fact, in Hark's film, the body aesthetics is everywhere.From the early "Ghost Ma Zhi duo Star" to the Gouling Monster of Magia, to the graceful appearance of Zhang Manyu in the later "Green Snake" film, to Huang Feihong's formality, as well as to the wonderful appearance of the body in the Di Renjie series of films in recent years.We can see that the body is almost a hidden main line in the narration of Tsui Hark, which contributes to the promotion of the movie plot.Therefore, to a certain extent, the presentation of the body in the film is directly related to the success or failure of the film and the aesthetic thought of a director.In the process of evaluating and appreciating the film works, it is very important to take care of and interpret the image of "body".And with the surge of postmodernism, the rational body is replaced by the perceptual body, and the individual gets the unprecedented need for liberation and self-realization, which makes the film art and the body in reality.With the intersection of time and space and the possibility of being studied in the same system.Through the application of the research achievements of body aesthetics at home and abroad, especially the view of body aesthetics of Schustmann and Nietzsche's will of power and so on, the theory of body aesthetics has been developed.Foucault's thoughts on the body, as well as the body aesthetics based on the medical angle and the body aesthetics based on the technical angle, respectively from the appearance of the form of the body, the body's bondage and break, the relationship between the body and the will of power,In the aspect of body ownership and so on, this paper studies the features and structure of body in Hark's films, and finally draws the conclusion that the body consciousness is relatively weak in his earlier works.Although it through the most advanced stunt development and presents the body's expressiveness, but this kind of presentation is still in the unconscious state, is a kind of primary attempt, therefore appears somewhat stiff and superfluous;The middle period is the key period of the awakening of body consciousness in Hark's works, and the appearance of body also breaks the original dilemma.This is mainly manifested in the combination of stunt and body is more skilled, natural and appropriate, the body presents a more full aesthetic effect, highlight and achieve a higher standard,As a result, a number of classic works, such as "Green Snake," "Huang Feihong", "New Dragon Inn" and "The Smiling銆丳roud Wanderer", have formed their own unique style of body aesthetics, which is strange, vivid, decent, and imaginative; and in recent years,But the film deliberately desalinated the body, put it in a larger space-time context to express, especially the use of special effects, but also more international and highly standardized, the body aesthetic presentation is more commercial.However, the aesthetic effect brought by paying too much attention to technology also made him lose some advantages and characteristics of his original narrative and physical performance.
【学位授予单位】：昆明理工大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

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