符号学理论视野下中国西部武侠电影特征分析

发布时间：2018-05-04 14:41

本文选题：中国西部武侠电影 + 电影符号学　；参考：《陕西科技大学》2014年硕士论文

【摘要】：中国武侠电影作为中国特有的电影类型，经历了一个从不同的艺术形态、不同的电影样式逐渐分化、演变而形成的历史过程。中国武侠电影在1920年前后开始出现，在1927年左右逐渐热门、逐渐成形，在战争年代衰败，到20世纪50年代复兴繁荣。武侠片在中国电影史上，其规模之大，参与者之众，产量之多，形态、趣味之丰富，几乎都超过了其他故事片类型。可以说，在中国电影史上最成熟的电影类型就是武侠片，同时也是蕴含着最深厚的民族精神和中国传统文化的片种。世界电影史发展超过110年，与中国武侠片同具知名度的还有美国的西部片，两种类型片同时开始发展，成为了世界电影史上发展较早、特点突出、类型清晰的电影，至今仍是好莱坞最受欢迎的经典类型影片。受到美国西部片创作风格的影响，在20世纪80年代初中国西部电影勃兴发展，在第五代导演的带领下，以展现西部粗犷雄浑自然风光和宿命悲凉人文内涵的电影形成了潮流，由此这类影片都打上了中国西部电影的烙印，西部电影也渐渐成为了一个引人注目的创作流派。本课题的关键论点主体是中国西部武侠这一电影范畴，中国武侠电影和中国西部电影都属于中国特有电影类型。中国西部电影和武侠电影的结合是社会、历史、文化多元演进的结果，武侠的气质与西部的特点不谋而合，孤寂、苍凉、粗犷、悲壮的特质在两种类型电影里常常得以体现，所以才有了这两种类型结合并且成为经典类型的中国西部武侠电影。中国西部武侠电影的开创及发展是中国西部地域文化和中国武侠文化碰撞的结果。 1990年何平导演的《双旗镇刀客》轰动中国大陆乃至香港影坛，这部电影突破了大陆武侠片和香港武侠片长期以来着力刻画武打动作的审美定式，，将武侠动作从“工笔”改向了“写意”。同时何平导演开山立派地将电影镜头聚焦到了中国西部地区，开创了中国西部武侠电影的先河。在近20年的发展中，中国西部武侠电影渐渐成为了武侠电影的一个新流派。本选题引入符号学的概念，对中国西部武侠电影的特质进行梳理、提炼，确定中国西部武侠电影的符号学特性和美学情境，尝试寻找其背后的逻辑支撑。在电影模式多元化和文化多样性的发展趋势下，跨文化和跨学科的研究在对解读电影文本时能提供一些新的视角，启发新的思路，使原本模糊不清的概念得以清晰明确，让研习的视角更加多元丰富。运用电影符号学的理论整合出中国西部武侠电影独特的原型谱系。为深入阐发中国西部电影多元的文化内涵作好理论准备和支撑。为电影学和美学补充新的审美角度。
[Abstract]:As a unique type of Chinese film, the Chinese martial arts film has undergone a historical process from different artistic forms and different movie styles to gradual differentiation and evolution. Chinese martial arts films began to appear around 1920, gradually became popular in 1927 or so, gradually formed, in the war years of decline, to the 1950s rejuvenation and prosperity. In the history of Chinese films, swordsman films almost surpass other feature films in terms of their scale, number of participants, production, form and taste. It can be said that in the history of Chinese film, the most mature type of film is martial arts film, but also contains the most profound national spirit and Chinese traditional culture. The world film history has developed for more than 110 years. Along with Chinese swordsman films, as well as American western films, the two types of films have started to develop at the same time, and have become early, prominent, and clearly typed films in the history of the world's cinema. It is still Hollywood's most popular classic genre. Influenced by the style of American western films, in the early 1980s, Chinese western films flourished and developed. Under the leadership of the fifth generation directors, films that showed the wild and powerful natural scenery of the west and the tragic humanistic connotation of fate formed a trend. As a result, these films have been branded as Chinese western films, and western films have gradually become a noticeable genre of creation. The main point of this thesis is the category of Chinese western martial arts, both of which belong to the special type of Chinese films. The combination of Chinese western movies and martial arts films is the result of the pluralistic evolution of society, history and culture. The temperament of martial arts and the characteristics of the west coincide with each other. The characteristics of loneliness, desolation, rugged and solemn are often reflected in the two types of films. So there is the combination of these two types and become a classic type of Chinese western martial arts movies. The creation and development of Chinese western martial arts film is the result of the collision between Chinese western regional culture and Chinese martial arts culture. Directed by He Ping in 1990, "Shuangqi Zhen Dao Guest" is a sensation in mainland China and even Hong Kong. This film breaks through the aesthetic pattern of mainland and Hong Kong martial arts films that have long been devoted to depicting martial arts movements. The martial arts action from "fine brush" to "freehand brushwork." At the same time, director He Ping has focused the film lens on the western region of China, creating the first martial arts movie in western China. In the past 20 years, western Chinese martial arts movies have gradually become a new genre of martial arts movies. This paper introduces the concept of semiotics, combs and refines the characteristics of the Chinese western martial arts movies, determines the semiotic characteristics and aesthetic situation of the western Chinese martial arts movies, and tries to find the logical support behind them. Under the development trend of film mode diversity and cultural diversity, cross-cultural and interdisciplinary studies can provide some new perspectives and enlighten new ideas when interpreting film texts, so that the original ambiguous concepts can be clear and clear. Make the perspective of the study more diverse and rich. The unique archetypal pedigree of martial arts films in western China is integrated with the theory of film semiotics. In order to further elucidate the cultural connotations of the western Chinese film, the theory of preparation and support. It is a new aesthetic angle for film science and aesthetics.
【学位授予单位】：陕西科技大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

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