论周星驰导演的童话情结

发布时间：2018-04-30 17:28

本文选题：周星驰导演 + 香港电影　；参考：《西南大学》2017年硕士论文

【摘要】：周星驰导演的电影共计9部,时间跨度从1994年到2016年,题材各异,有合拍片也有个人执导的影片。周星驰导演的电影形式和内容上都不同于一般的影片,这也使得周星驰电影形成了自己的特色。本文从童话与周星驰导演创作的关系来分析周星驰导演的童话情结,试图找到童话对导演的创作方式和创作内容的影响。周星驰导演的童话情结是与他本人一生密切相关的,少年期间,从接触武侠电影周星驰就幻想着有天能实现武侠梦,与童话结缘;青年期间,从一名无名小卒的演员变成了家喻户晓的大明星,这一身份的转变,也让周星驰开始相信童话的存在;到了中年,周星驰成为导演,拍摄了一系列与童话或多或少相关的电影,实现了自己的童话梦。在这期间他始终对童话有着执着的追求,促使着他一步步向童话靠近。本文总共3大章节,运用影视文本分析法、文献分析法、对比研究法、个案分析法等研究方法对周星驰导演的电影展开研究。拟从周星驰导演9部电影分析他的童话情结,并且探究其产生的背景和历史原因。第一章主要依据周星驰导演的电影与童话相近的内容,将他的电影分为筑梦童话、教育童话和情感童话三大类型。筑梦童话倾向于塑造梦的实现;教育童话则倾向于寓教于乐;情感童话则在更多地展现人间温情的一面。第二章童话情结在周星驰导演电影的叙事形式中的体现,这部分包括两个方面:一,借鉴童话叙事模式,周星驰导演主要通过设置简单的直线型故事主线,二元对立的故事内容,采用三段式的故事讲述方式来构造整部影片。二,采用童话叙事特征,周星驰导演分别以幻想和夸张、诗意的美感两个主要的童话叙事特征,对电影进行表述。第三章分析了周星驰导演的童话情结形成的原因,从周星驰的个人经历和当时的香港电影环境以及他所处的历史文化环境来看,他的童话情结一方面体现了导演本人从小就有的童话一样的“武侠梦”,同时也融入了香港文化追求标新立异的一面,摆脱了粗制滥造复制的电影追求;另一方面也表现了以周星驰代表的香港影人在备受迫害的年代,滋生出来的不切实际的幻想梦。
[Abstract]:Zhou Xingchi's nine films, from 1994 to 2016, range from co-production to personal directing. Zhou Xingchi's film form and content are different from ordinary film, which also makes Zhou Xingchi film form its own characteristics. In this paper, the relationship between fairy tales and Zhou Xingchi's creation is analyzed to find out the influence of fairy tales on director's creative style and content. Zhou Xingchi's fairy tale complex is closely related to his life. As a teenager, he dreamed of realizing his dream of martial arts from his youth when he came into contact with the martial arts film Zhou Xingchi. The shift from an unknown actor to a household name has led Zhou Xingchi to believe in the existence of fairy tales; in middle age, Zhou Xingchi became a director, making a series of films more or less relevant to fairy tales. Realized his fairy tale dream. During this period, he always has a persistent pursuit of fairy tales, prompting him to step closer to fairy tales. There are three chapters in this paper, which use the methods of film and television text analysis, literature analysis, contrast research, case analysis and so on to study Zhou Xingchi's films. This paper analyzes Zhou Xingchi's fairy tale complex from 9 films and explores its background and historical reasons. In the first chapter, according to the similar contents of Zhou Xingchi's films and fairy tales, his films are divided into three types: dream fairy tale, educational fairy tale and emotional fairy tale. Dream fairy tales tend to shape the realization of dreams; educational fairy tales tend to teach in fun; emotional fairy tales show more warm side of the world. The second chapter is the embodiment of fairy tale complex in the narrative form of Zhou Xingchi's film. This part includes two aspects: first, draw lessons from the fairy tale narrative mode, director Zhou Xingchi mainly by setting up a simple straight line story line. Dualistic opposite story content, the use of three-paragraph story-telling way to construct the entire film. Second, using fairy tale narrative characteristics, Zhou Xingchi respectively with fantasy and exaggeration, poetic aesthetic two main fairy tale narrative characteristics, to describe the film. The third chapter analyzes the reasons for the formation of Zhou Xingchi's fairy tale complex, from the perspective of Zhou Xingchi's personal experience and the Hong Kong film environment at that time, as well as the historical and cultural environment in which he lived. On the one hand, his fairy tale complex reflects the "martial arts dream" which the director himself has had since he was a child, at the same time, he also integrates the Hong Kong culture in pursuit of novelty and gets rid of the pursuit of shoddy and duplicated films. On the other hand, it also shows that the Hong Kong moviegoers, represented by Zhou Xingchi, have unrealistic fantasies in the persecuted age.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J911

【参考文献】