吴君如电影表演艺术研究

发布时间：2018-05-03 20:15

本文选题：吴君如 + 表演创作　；参考：《重庆大学》2014年硕士论文

【摘要】：吴君如是1985年至2005年20年间全港累计票房最高的女演员，并超过了张曼玉、梅艳芳等人，是香港影坛难得的不以美貌博票房的女演员。她出道至今以独特的夸张、扮丑、自讽的谐星形象叱诧着香港喜剧片市场。在王晶、黄百鸣、周星驰等人的经典喜剧电影中也无不闪现着她标志性的面孔。迄今为止她收获了第4届中国香港电影金紫荆奖最佳女主角、第5届香港电影评论学会奖最佳女主角、第18届香港电影金像奖最佳女主角、第40届台湾电影金马奖最佳女主角、第4届华语电影传媒大奖最受欢迎女演员铜奖（港台部分）、光线传媒“2009真维斯娱乐大典”年度电影女演员（港台）、第10届长春电影节金鹿奖最佳女配角、第9届意大利亚洲电影节最佳女主角、第14届中国电影华表奖优秀境外华裔女演员奖等殊荣。她从影近30年，或扮丑装傻，或帅气刚强，亦或温情坚韧，，她扮演了许许多多深入人心的角色，包括霸王花、都市白领、垃圾婆、妓女等等。吴君如在喜剧表演上通过以“丑”为“美”的方式为她自己开辟了一条另类且成功的路线。迄今为止，她已然从一个香港电视工业的“产物”发展到了量产的港片演员，最后成为了香港电影圈的明星符号。她所参演的影片虽够不上“大片”的定义，但是对于香港电影或香港社会而言却有着不同寻常的意义。吴君如的成功应归功于特定地区在特定的年代生产了特定的类型片，所以她也可谓是后工业时代的“产物”，她在影片中的狂欢与消解透露着浓浓的后现代的气息。本文将运用电影表演艺术创作、电影学理论分析，结合举例论证与对比论证的方式，梳理吴君如不同阶段的表演风格，总结她在特定的时代里喜剧表演上的独树一帜，以及对吴式喜剧现阶段的处境迷思进行解析。
[Abstract]:Wu Junru was the highest-grossing actress in Hong Kong between 1985 and 2005, and surpassed Zhang Manyu, Mei Yanfang and others. She was a rare actress in Hong Kong who did not take a good look at the box office. Her unique exaggeration, ugliness, and sarcasm have surprised the Hong Kong comedy market. In Wang Jing, Huang Baiming, Zhou Xingchi and others classic comedy films also flashed her iconic face. So far, she has won the 4th Hong Kong Golden Bauhinia Award for Best Actress, the 5th Hong Kong Film Review Society Award for Best Actress, the 18th Hong Kong Film Awards for Best Actress, and the 40th Taiwan Film Golden Horse Award for Best Actress. The 4th Chinese Film Media Award is the most popular actress bronze award (Hong Kong and Taiwan part, ray media "2009 Jens Entertainment" film actress of the year) (Hong Kong and Taiwan, 10th Changchun Film Festival Golden Deer Award for Best supporting Actress, The 9 th Italian Asian Film Festival Best Actress, the 14 th China Film Award, Outstanding Foreign Chinese Actress Award, etc. For nearly 30 years, she has played ugly, silly, handsome, or tenacious, she has played a lot of popular roles, including overlord flower, urban white-collar, garbage woman, prostitute and so on. Wu Junru opened up an alternative and successful route for herself by using ugliness as beauty in a comedy performance. So far, she has grown from a "product" of the Hong Kong television industry to a mass-produced Hong Kong actress, eventually becoming a star symbol in the Hong Kong film industry. Her films, though not enough to define blockbusters, have an unusual meaning for Hong Kong films or for Hong Kong society. Wu Junru's success can be attributed to the production of certain types of films in certain regions in certain times, so she is also a "product" of the post-industrial era. Her revelry and deconstruction in the film reveals a strong post-modern atmosphere. This article will use the film performing art creation, the cinematology theory analysis, unifies the example demonstration and the contrast argument way, combs Wu Junru different stage performance style, summarizes her in the specific era comedy performance unique, And the analysis of the situation of Wu comedy at this stage.
【学位授予单位】：重庆大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J912

【参考文献】