新时期以来中国电影中的重庆元素研究

发布时间：2018-05-03 09:44

本文选题：重庆元素 + 城市形象　；参考：《西南大学》2014年硕士论文

【摘要】：城市题材的电影与城市本身有着“需要”与“被需要”的关系。电影取材来源于城市生活,表达城市里各类实际存在和将来可能出现的问题,观众在观看电影的过程中,结合自身的生命体验和成长经历阐释电影文本,重新认识城市,形成对城市的理解,找寻与城市融洽相处的关系,对自己身处的城市进行反思,外界通过观看这座城市的电影,借助导演的镜语表达理解这座城市。因此,电影对城市的表达显得至关重要。电影生动形象的画面效果、有趣的故事情节、传播广泛等特征承载着塑造城市形象的重要使命。上海和香港利用自身成熟的城市发展和众多社会文化资源,利用光影打造了一个电影中的影像城市,使得上海和香港的城市形象深入人心。重庆作为一个偏远的西部小城,与上海、香港相比,电影作品甚少,尚未能塑造统一稳定的城市形象的程度。以历史的纵向维度来考查,重庆的电影有三段十分明显的时间分期。1938年开始,重庆出现在中国电影史里,进入大众视线。而此前,重庆充当的只是看客的角色。此后,重庆电影发展呈现的三段式结构里,每一阶段都有表现出不同的主题。第一段是抗日战争时期,重庆跃升为民国政府的陪都,在此期间拍摄了大量表现民族战争、民族正义的电影。陪都身份消失后,重庆在中国电影史中的地位明显下降,隐退在众多面目模糊、没有明显特征的城市中。1990年代的重庆发生了几件引人注目的事情,如三峡移民工程,1997年成为中国第四大直辖市,以及重庆突出的城乡二元结构等,重庆城市在十年内发生了巨大的变化,城市面貌日新月异,经济快速发展,吸引了众多导演来到重庆寻找故事题材。重复的影像呈现建构起了稳定的重庆元素,重庆城市电影作为区域电影的一环,也正在建立起属于自己的类型、风格和叙事模式,为城市和区域电影提供了较高的辨识度和独特性,固化下来的重庆元素利用电影影像为观众呈现了专属于重庆的城市形象。论文第一章节对重庆元素的概念进行了界定,认为重庆元素包涵了有形的物质符号和无形精神内容,即物质、精神文化元素。将重庆元素划分为自然景观类元素和人文景观类元素。并研究了重庆的地域文化,试图在重庆地域文化里寻找重庆元素的由来。论文第二章对新时期以来在重庆发生或取景的中国电影中的重庆元素进行了历史的纵向梳理,分别对新时期至1980年代、1990年代、21世纪初到2012年三个时期里的重庆元素进行了梳理：试图揭示重庆元素在影像中的建构逻辑,试图发现反映重庆城市风貌的重庆元素与电影影像表征的互动关系里的艺术内涵与价值。论文第三章以影像解读的方法对电影中的重庆元素进行了分析解读,分析了以长江三峡和雾为主的自然景观类元素,陪都文化、城市空间、城市文化、重庆城市人为主的人文景观类元素。探讨重庆元素在重庆影像中的运用,重庆影像承载的城市形象宣传的呈现出来的效果。
[Abstract]:The film and the city itself have the relationship between "need" and "need". The film comes from the city life, expresses the actual existence of the city and the possible problems that may arise in the future. In the course of watching the movie, the audience can explain the city and the city with its own life experience and the long experience to explain the film text. To understand the city, to find the relationship with the city, to reflect on the city in which it is in, to understand the city by watching the film of the city, and by the mirror of the director. Shanghai and Hongkong have made use of their own mature urban development and numerous social and cultural resources to make use of light and shadow to create an image city in a movie, making the city image of Shanghai and Hongkong deeply rooted in the hearts of the people.
Compared with Shanghai and Hongkong, Chongqing is a remote western small city, and the film works are very small compared with Shanghai and Hongkong. It has not yet been able to shape a unified and stable image of the city. By historical longitudinal dimensions, Chongqing films have three distinct periods of time in.1938 years, and Chongqing has come into the public view in the history of Chinese film. Chongqing is only the role of the visitors. Since then, in the three segment structure of the Chongqing film development, each stage shows different themes. The first section is the Anti Japanese War, and Chongqing jumped to the capital of the Republic of China. During this period, a large number of films showing national war and national justice were filmed. After the identity of the accompanying capital disappeared, Chongqing was disappearing. In the history of China's film history, the status of the.1990 years of the.1990 years in the cities of the Three Gorges, such as the Three Gorges Emigration project, became the fourth largest municipality in China, and the two yuan structure in Chongqing, and the city of Chongqing took place in ten years. The big change, the city face changing and rapid economic development, attracted many directors to come to Chongqing to find story themes. Repeated images presented a stable Chongqing element, Chongqing city film as a part of the regional film, is also building its own type, style and narrative model for urban and regional films. It provides a high degree of identification and uniqueness. The solidified Chongqing elements show Chongqing's image of the city with the film and video.
The first chapter of the paper defines the concept of Chongqing element, and thinks that the elements of Chongqing contain tangible material symbols and intangible spiritual content, that is material and spiritual culture elements. The elements of Chongqing are divided into natural landscape elements and human landscape elements. The regional culture of Chongqing is studied in order to find in Chongqing regional culture. The origin of Chongqing elements. The second chapter of the paper makes a historical longitudinal combing of the elements of Chongqing in the Chinese films that have occurred or captured in Chongqing since the new period. The Chongqing elements in the new period to 1980s, 1990s, from the beginning of twenty-first Century to the three period of 2012 are carried out to try to reveal the construction of the elements of Chongqing in the image. Structure logic, trying to find the artistic connotation and value of the interactive relationship between the Chongqing elements and the film images of Chongqing city. The third chapter of the paper analyzes the elements of Chongqing in the film by means of image interpretation, and analyzes the natural landscape elements, the culture of accompanying capital and the urban space of the Three Gorges and the fog. City culture, Chongqing city people mainly human landscape elements. Explore the use of Chongqing elements in the Chongqing image, and the effect of the city image propaganda of Chongqing image.

【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

【参考文献】