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新世纪以来中国小成本喜剧电影研究

发布时间:2018-04-19 21:08

  本文选题:小成本喜剧电影 + 新世纪 ; 参考:《山东师范大学》2014年硕士论文


【摘要】:喜剧电影,是最能够体现文化个性、民族风情和审美情趣的电影类型之一。然而中国喜剧电影却没能形成自己独特的文化个性,始终没有找到一条蓬勃发展的道路。几十年来,中国喜剧电影摇摆在各种电影类型之间,因为没有合适的文化身份而步履维艰。然而就在2006年,一部《疯狂的石头》横空出世,获得了票房和口碑的双赢。它的成功让中国观众和电影人看到了国产喜剧发展的另一种可能性,并开始对中国式喜剧的制作模式进行重新思考。此后,众多小成本喜剧电影应运而生并形成了一股浪潮,在新世纪迅速繁荣起来。本文旨在以中国小成本喜剧电影在新世纪以来的繁荣现象为切入点进行梳理和分析,探究小成本喜剧电影的审美特质,追寻其繁荣的原因,指出其存在的不足与问题,从而为当下中国小成本喜剧电影的发展提供理论镜鉴。 本文共分为四章。第一章主要论述小成本喜剧电影的概念,对新世纪以来中国小成本喜剧电影的发展状况进行梳理,具体阐释中国喜剧电影发展中经历的文化转型与变革,指出中国喜剧电影传统对当下中国小成本喜剧电影的影响。 第二章,主要探究中国小成本喜剧电影呈现出怎样的主题意蕴和美学特征。首先探析其现实批判和人文关怀的主题意蕴;其次分析其三个方面的美学特征:人物塑造上的草根化、丑角化和幽默化特色,注重戏仿、拼贴、误会与巧合的叙事技巧,泛娱乐化的影像风格。 第三章,主要探究中国小成本喜剧电影在新世纪繁荣的原因。首先,在大众消费文化兴起的时代语境中,草根话语的崛起和狂欢文化的盛行为小成本喜剧电影的繁荣提供了土壤;其次,小成本喜剧电影游戏化、本土化的创作特色更多地融入了大众平民的生活和感受,为其繁荣发展创造了良好的内部条件;再次,从观众的接受角度来看,小成本喜剧电影符合国人的审美情趣和观影期待、迎合了年轻受众的观影心理、赋予观众一定的心理慰藉和情感认同等;最后,从产业环境和创作环境来看,低投入高回报的资本诱惑以及小成本商业电影创作上的制约性也在一定程度上促使了小成本喜剧电影的繁荣。 第四章,主要论述中国小成本喜剧电影在繁荣的背后存在的不足与问题,并对此提出对策与建议。当下中国小成本喜剧电影存在的问题主要是创作上后现代游戏精神下主体性的失落、娱乐碎片下叙事逻辑的丧失、市场运作上宣传匮乏和院线发行不力等问题。要解决这些问题,,不仅要在创作上真正从观众角度出发,从单纯的感官刺激回归到以人为本,同时还要积极开拓市场,丰富宣传模式,更好的实现小成本喜剧在中国商业电影市场中的价值。
[Abstract]:Comedy film is one of the film types which can best reflect the cultural personality, national customs and aesthetic taste. However, the Chinese comedy film failed to form its own unique cultural personality and never found a way to flourish. For decades, Chinese comedy films swung between different types of films, struggling with a lack of cultural identity. In 2006, however, a crazy stone emerged, winning both box office and word of mouth. Its success allowed Chinese audiences and filmmakers to see another possibility for the development of domestic comedies and began to rethink the production model of Chinese comedies. Since then, many small-cost comedy films came into being and formed a wave of rapid prosperity in the new century. This paper aims at combing and analyzing the prosperity of Chinese small cost comedy film in the new century, exploring the aesthetic characteristics of the small cost comedy film, seeking the reasons for its prosperity, pointing out its shortcomings and problems. Thus provides the theory mirror for the present Chinese small-cost comedy movie development. This paper is divided into four chapters. The first chapter mainly discusses the concept of the small cost comedy film, combs the development situation of the Chinese small cost comedy film since the new century, and explains the cultural transformation and transformation in the development of the Chinese comedy film. This paper points out the influence of Chinese comedy film tradition on the current Chinese small-cost comedy film. The second chapter mainly explores the theme implication and aesthetic features of Chinese small-cost comedy films. First of all, it analyzes the theme meaning of its realistic criticism and humanistic concern, and then analyzes its aesthetic characteristics in three aspects: the grass-roots character shaping, the ugly and humorous features, the narrative skills of paying attention to parody, collage, misunderstanding and coincidence. A pan-entertainment image style. The third chapter mainly explores the reasons for the prosperity of Chinese small-cost comedy films in the new century. First of all, in the context of the rise of mass consumer culture, the rise of grassroots discourse and the prevalence of carnival culture provide the soil for the prosperity of small cost comedy films. The localization of the creative features has more integrated into the life and feelings of the masses, creating good internal conditions for its prosperity and development. Thirdly, from the perspective of audience acceptance, Small-cost comedy films conform to the aesthetic tastes and movie expectations of Chinese people, cater to the young audience's psychology of watching films, and endow the audience with certain psychological comfort and emotional identity. Finally, from the perspective of the industrial and creative environment, The capital temptation of low investment and high return and the restrictions on the creation of small-cost commercial films also contributed to the prosperity of small-cost comedy films to some extent. The fourth chapter mainly discusses the shortcomings and problems behind the prosperity of Chinese small-cost comedy films, and puts forward some countermeasures and suggestions. At present, the main problems of Chinese small cost comedy films are the loss of subjectivity under the spirit of post-modern game, the loss of narrative logic under entertainment fragments, the lack of publicity in market operation and the weak distribution of the cinema. To solve these problems, we should not only create from the perspective of the audience, from pure sensory stimulation to people-oriented, but also actively open up the market and enrich the publicity model. Better realize the value of small-cost comedy in the Chinese commercial film market.
【学位授予单位】:山东师范大学
【学位级别】:硕士
【学位授予年份】:2014
【分类号】:J909.2

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