杜琪峰爱情电影研究

发布时间：2018-04-28 04:05

本文选题：爱情电影 + 杜琪峰　；参考：《西北大学》2014年硕士论文

【摘要】：爱情是电影重要的类型之一,杜琪峰作为一名类型意识鲜明的商业片导演,他的电影涉及多个题材：黑帮、警匪、爱情、文艺、武侠、喜剧等。这些题材元素或者单独出现支撑一部电影作品；或者是以其中某个题材作为主体,其他元素加以辅佐,共同构建出一个类型杂糅的完整作品风貌。作为电影人,杜琪峰自觉反省现代社会意识流中的理性话语,努力追寻普世情怀,剑走偏锋坚守着个性化风格路线；作为导演,杜琪峰注重场面调度和节奏的把握,擅长利用多样化的电影制作手法,形成独具超凡脱俗且凌厉的影像风格,在香港影坛乃至整个华语电影世界格局中都堪称旗帜。在杜琪峰的电影中,影片的叙事线索通常在死亡/绝望的二元对立中持续着非此即彼的徘徊。主体意旨则表现为深沉的宿命论、无路的悲怆以及嗜血的复仇,等待的结局走向自怜心理映照下的流亡情结。诸如此类的主题表达是对香港由来已久的江湖美学作了进一步延续和变奏,同时也深深根植于杜琪峰这位香港导演坚持作者电影的创作道路。众所周知,杜琪峰的创作虽不是以爱情电影著称,但以爱情为元素的爱情艺术片和爱情喜剧片却是他多年以来坚持创作的部分。无论是早期涉足宏大叙事中动人心魄的情感之作,还是新千年以来凭借浪漫、温情和喜剧等元素构筑起来的爱情电影序列作品。从中,我们都可以在这个以拍摄黑帮警匪电影见长的导演身上看到他情感细腻的一面以及偏爱文艺和喜剧的情感诉求。然而,迄今为止对于杜琪峰爱情电影的研究,还缺少系统化以及理论化的梳理和总结。本论文旨在研究杜琪峰爱情电影的类型模式以及作者风格的表现,并不像传统研究者们将目光聚焦于杜琪峰警匪电影,或者偏执于梳理香港黑帮电影题材美学类型的嬗变。我们试图通过电影文本,分析影片的主题意蕴和类型特征,揭示出导演／作者赋予影片的人文色彩和普世情怀,感同身受普罗大众在爱情这场盛宴中的悲欢离合,总结出影片获得艺术成功和商业票房的成功模式,揭露和批判电影中所存在的缺陷和硬伤,给予其他导演一定的启示。最终为华语电影合拍片以及杜琪峰导演未来的爱情电影创作提供一定的前景展望和理论支持。
[Abstract]:Love is one of the most important types of movies. As a commercial film director with a clear sense of genre, his films involve many subjects: gangsters, police and bandits, love, literature and art, martial arts, martial arts, comedy and so on. These theme elements either appear alone to support a movie work, or take one theme as the main body, other elements to assist, together to construct a type of mixed complete style and features of the works. As a filmmaker, Tu Chih-feng consciously reflects on the rational discourse in the stream of consciousness in modern society, strives to pursue the universal feelings, and the sword takes the line of individualized style. As a director, he pays attention to the scheduling of scenes and the grasp of rhythm. Good at using a variety of movie-making techniques to form an extraordinary and powerful image style, in Hong Kong film and even the entire world of Chinese film can be regarded as a banner. In his films, the narrative thread of the film usually lingers between one and the other in the duality of death / despair. The subject's intention is manifested in the deep fatalism, the pathos of no way and the revenge of bloodlust, and the waiting ending leads to the exiled complex under the reflection of self-pity psychology. Such themes are a continuation and variation of Hong Kong's longstanding quack aesthetics, and are deeply rooted in the Hong Kong director's insistence on the author's creative path. As we all know, although his creation is not famous for his love movies, love art films and love comedies are part of his work for many years. Whether it is the emotional works of the grand narration in the early period, or the series works of the romantic movies constructed by the romantic, tender and comedy elements in the new millennium. From this, we can all see his emotional delicate side and the emotional appeal of his preference for literature and comedy in this director who is good at shooting gangster police and bandit films. However, so far, the study of Qifeng love film is still lack of systematization and theoretical carding and summing up. The purpose of this thesis is to study the types of love movies and the performance of the author's style, unlike the traditional researchers who focus their attention on the film of police and bandit, or are paranoid about the evolution of aesthetic types of Hong Kong gangster films. Through the film text, we try to analyze the theme meaning and the type characteristic of the film, reveal the humanism color and the universal feeling that the director / author endows the film, and feel the feelings of the general public in the love feast. This paper sums up the successful models of artistic success and commercial box office, exposes and criticizes the defects and harms existing in the film, and gives some enlightenment to other directors. Finally, it provides a certain prospect and theoretical support for co-production of Chinese film and future love film creation of director Qifeng.
【学位授予单位】：西北大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

【参考文献】