娄烨电影艺术三论

发布时间：2018-04-21 15:58

本文选题：娄烨 + 电影　；参考：《安徽师范大学》2017年硕士论文

【摘要】：娄烨是中国第六代电影的代表性导演。以娄烨为代表的第六代电影,有着明显的作者电影的特征,也就是说娄烨的电影是艺术电影。他的电影具有明显的法国新浪潮电影的特征,但是相较于法国新浪潮,又有较为明显的突破。这种突破体现在对暴力和色情问题的处理上,具有明显的后结构主义色彩。他的电影与其他第六代电影的差异便体现在这点,这也是本文研究的价值所在。本文共分为三章。第一章,本章主要从符形、符义和符用三个方面对娄烨电影中的符号进行分析。首先,在符形视野下,主要对娄烨电影中符号的能指、所指,以及电影中符号的修辞进行探讨,分析其在电影符号中使用的独特性。其次,从符义学角度对电影中出现的符号意义传达与解释进行探讨,主要从其内涵意义、象征意义和文化意义进行分解阐释。最后,从符用学角度对电影语境进行分析,并对娄烨电影《推拿》进行个案分析。第二章,从三方面对娄烨电影叙事的独特性进行探讨。首先,对叙事时间和空间进行分析,讲述娄烨电影中独特的叙事空间。其次,娄烨电影叙事视角一直都颠覆传统的电影叙事视角,给大众呈现出一种全新的叙事线索和讲述视角,本文从摄像式的视角、体验视角和具有独创性的“盲视角”对其电影视角进行分析。第三章,对娄烨电影的文本进行分析。第一节,从雅各布森语言符号学中的组合轴和聚合轴展开,采用语言学模式,讨论娄烨电影横组合轴和纵聚合轴的双轴运作问题。纵聚合的宽窄,决定了电影文本的风格特征。第二节,采用罗兰·巴特《明室》中的文本二元性——展面与刺点,对娄烨的电影文本的文化层面(即“展面”)和一些细节(即“刺点”)进行分析。本文在后结构主义符号学的语境中讨论娄烨电影中的展面与刺点。通过符号学方法对娄烨电影的研究得出结论:娄烨的电影既有作者电影的显著特征,同时还有明显的后结构主义风格。他对暴力和色情的处理,并不是如一般商业电影那样,是一种吸引观众的嘘头,而是一种艺术手段。具体表现就是符号学中的“刺点”。这作为一种文本编码的手段,使他的电影文本具有了罗兰·巴特意义上的可生产性色彩,仿佛是一个局部可逆的星形文本。这些可逆性的影像符号有其自洽性,是突破结构主义符号学的意指过程的后结构主义符号,是一个反建构的过程。娄烨的电影既是作者电影,也具有后结构主义风格,看似矛盾,却有统一性,是一种具有后现代性的电影。
[Abstract]:Lou Ye is the representative director of the sixth generation film in China. The sixth generation film, represented by Lou Ye, has the characteristics of the author's film, that is to say, Lou Ye's film is an art film. His films have the characteristics of the French New Wave movies, but compared with the French New Wave, there are more obvious breakthroughs. This breakthrough is reflected in the treatment of violence and pornography, with a clear post-structuralism color. The difference between his films and other sixth-generation films is reflected in this point, which is the value of this study. This paper is divided into three chapters. In the first chapter, this chapter analyzes the symbols in Lou Ye's films from three aspects: form, sememe and symbol. First of all, from the perspective of symbol, this paper mainly discusses the signifier, signifier, and rhetoric of symbols in Lou Ye's films, and analyzes the uniqueness of their use in film symbols. Secondly, from the perspective of semiotics, this paper probes into the communication and interpretation of the symbolic meaning in the film, mainly from its connotation, symbolic meaning and cultural meaning. Finally, it analyzes the film context from the perspective of semiotics and a case study of Lou Ye's film Tuina. The second chapter discusses the uniqueness of Lou Ye's film narration from three aspects. Firstly, the narrative time and space are analyzed, and the unique narrative space in Lou Ye's films is described. Secondly, Lou Ye film narrative perspective has been subverting the traditional film narrative perspective, giving the public a new narrative clue and narrative perspective. Experience perspective and original "blind perspective" to analyze its film perspective. Chapter three analyzes the text of Lou Ye's films. In the first section, from the combination axis and the aggregate axis in Jacobson's linguistic semiotics, we discuss the biaxial operation of the horizontal combined axis and the longitudinal aggregate axis in Lou Ye's film by using the linguistic model. The width of the longitudinal aggregation determines the style characteristics of the film text. In the second section, the author analyzes the cultural aspect and some details of Lou Ye's film text by using the duality of the text in Roland Bart's Ming Room. In the context of post-structuralist semiotics, this paper discusses the exhibition and prickles in Lou Ye's films. The study on Lou Ye's films by semiotic method concludes that Lou Ye's films have the distinctive features of the author's films and the obvious post-structuralist style. His treatment of violence and pornography is not a booing device, like a commercial film, but an art device. The concrete expression is the "prickle point" in semiotics. As a means of text coding, his film text has a productive color in the sense of Roland Bart, as if it is a partially reversible star text. These reversible image symbols have their own consistency, are the post-structuralist symbols that break through the signifying process of structuralism semiotics, and are a process of anti-construction. Lou Ye's film is not only an author's film, but also a poststructuralist style, seemingly contradictory, but unified.
【学位授予单位】：安徽师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J911

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