大片时代中国电影对中国古典美学的背弃

发布时间：2018-04-19 10:10

本文选题：中国电影 + 大片时代　；参考：《温州大学》2014年硕士论文

【摘要】：进入新世纪以来，在全球化背景下，中国电影面临好莱坞电影市场的强大冲击和国内市场体制改革的多重压力，历经艰辛，喷涌而出。受到好莱坞“高概念”电影生产方式的影响，中国电影开启了国际化视点、东方化奇观、商业化制作的大片模式。以2003年的《英雄》为起点，中国电影迎来了引人瞩目的大片时代，短短几年，中国大片一路高歌。诚然，从产业的角度说，大片的拍摄有力地推动电影市场，带动了中国电影市场的繁荣。但是，国产大片盲目跟风，向观众呈现的大多是一场又一场视觉盛宴。轮番上演宏大的场面、奇幻的特技等消解了影片的内涵，，让观众产生了审美疲劳，使得许多大片如昙花一现，“叫座不叫好”的状况比比皆是。其实，国产“大片”的根本失误不在于它们奇观化的影像制作，而在于它们缺少有精神意义的“意指”建构，缺乏对本民族文化价值的认同，缺少人文情怀和历史深度。中国电影创作者在依据商业原则制作影像奇观的时候，忽视了中国电影产生的文化语境及其应当承担的文化功能，没有承担起建构更有价值，更有声望的品牌电影的文化使命，致使精神内涵和文化底蕴的缺失。本文以大片时代中国电影存在背弃中国古典美学现象为切入点，以具体的电影文本为例，结合中国古典美学的精神范畴以及电影批评的相关理论来分析这种现象及其发生的文化背景，寻求中国电影古典美学精神的回归和文化价值伦理的重构。首先以经典中国影片为例，选取中国古典美学的三个角度进行论述，分析其中国古典美学精神的具体体现。其次以电影文本为例，用四个小节详细分析中国电影背弃中国古典美学精神的具体表现。第一小节分析延续几千年的儒家仁义的失守。一些中国大片为打造奇观影像，将一些战争、暴力场景过度渲染，与儒家仁义背道而驰。第二小节分析君子人格美的缺失，一些华语大片在人物形象塑造上缺乏考究，丧失了儒家的君子人格美，造成了君子的缺席。第三小节分析兴味的缺少，一些大片缺失意蕴和灵魂，缺少回味的空间。第四小节分析意境的破碎，电影意境美是中国电影区别于其它电影的独特魅力所在，而大片时代中国电影胡乱堆砌现象严重，致使意境缺失。接下来简要分析大片时代中国电影背弃中国古典美学的文化背景。最后提出回归中国古典美学，创建“中莱坞”电影品牌的建议，寻求中国电影精神重构和价值重建。
[Abstract]:Since entering the new century, under the background of globalization, Chinese films are facing the powerful impact of Hollywood film market and the pressure of the reform of domestic market system.Influenced by Hollywood's "high concept" mode of film production, Chinese films have opened the international view, oriental wonders, and commercial production of blockbuster models.Starting from Hero in 2003, Chinese films have ushered in a remarkable era of blockbusters. In just a few years, Chinese blockbusters have been singing all the way.Indeed, from an industrial point of view, blockbuster shooting has driven the film market and the prosperity of the Chinese film market.However, domestic large films blindly follow the trend, the majority of the audience presented a visual feast after another.In turn, grand scenes, fantastic stunts, and so on have dispelled the connotation of the film, so that the audience produced aesthetic fatigue, making many blockbusters ephemeral, "No praise" situation abound.In fact, the fundamental failure of domestic "blockbuster" lies not in their miraculous image production, but in their lack of spiritual meaning "meaning" construction, lack of recognition of the national cultural value, lack of humanistic feelings and historical depth.Chinese film creators ignore the cultural context of Chinese films and the cultural functions they should undertake when they produce images on the basis of commercial principles, and fail to undertake the cultural mission of constructing more valuable and prestigious brand films.The lack of spiritual connotation and cultural connotation.This paper takes the phenomenon of renegade Chinese classical aesthetics in the era of blockbuster as the starting point, and takes the specific film text as an example.Combined with the spiritual category of Chinese classical aesthetics and the relevant theories of film criticism, this paper analyzes this phenomenon and its cultural background, and seeks the return of Chinese classical aesthetic spirit and the reconstruction of cultural value ethics.Firstly, take the classic Chinese film as an example, select three angles of Chinese classical aesthetics to analyze the embodiment of its Chinese classical aesthetic spirit.Secondly, taking the film text as an example, four sections are used to analyze in detail the concrete performance of Chinese film reneging on the Chinese classical aesthetic spirit.The first section analyzes the loss of benevolence and righteousness of Confucianism for thousands of years.Some Chinese blockbusters overplay war and violence to create images of wonders and run counter to Confucian benevolence.The second section analyzes the lack of the personality beauty of the gentleman, some Chinese blockbusters lack of refinement in the portrayal of characters, the loss of the Confucian personality of the gentleman, resulting in the absence of the gentleman.The third section analyzes the lack of interest, some large lack of meaning and soul, lack of aftertaste space.The fourth section analyzes the fragmentation of artistic conception. The beauty of movie artistic conception is the unique charm of Chinese film which is different from other films. However, the phenomenon of Chinese movies piling up in a large area is serious, which leads to the absence of artistic conception.Then it briefly analyzes the cultural background of the Chinese film reneging on Chinese classical aesthetics in the blockbuster era.Finally, the author puts forward the suggestion of returning to Chinese classical aesthetics, establishing the movie brand of "Zhongliwu", and seeking the reconstruction of Chinese film spirit and value.
【学位授予单位】：温州大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

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