英国邪典影视的艺术形态与文化意蕴研究
本文选题:邪典影视 + 艺术形态 ; 参考:《昆明理工大学》2015年硕士论文
【摘要】:本文主要研究英国邪典影视的艺术形态、文化意蕴以及从中反映出的关乎人类精神与心灵幽暗处的一些问题。邪典影视在20世纪50年代萌芽于美国,逐渐发展至较为成熟的类型,但一直作为主流影视世界外的异类。由于跨风格、跨类型的特征,因此在不同地区均以不同面貌呈现于观众面前。随着文化融合不断的加深,中国内地小部分观众在了解这一奇异的影视奇观之后,被其独特的表现形式所吸引,但无论是主流影视界还是学术理论界对邪典影视的研究都还很少,使其难以进入公众视野。本文选取英国的邪典影视作为研究对象,一来可以有机会更微观地阐述邪典影视的概念,剖析邪典影视的构成及其自身的艺术特质,为后来的研究者打开继续研究邪典影视的大门,并希望观众在主流商业大片和艺术电影之外偶然接触到邪典影视作品之余,能通过笔者对这一类型影视作品的阐述及剖析,更深层次地了解这一奇异的文化现象,继而希望邪典影视作品能通过此类途径走入更多观众的视野;二来旨在通过剖析英国邪典影视作品的艺术价值、文化内涵、美学特征等,增加已有受众群对该类影视作品文化品位多样性的选择,从而让更多的观众了解邪典影视作品。本文先分别从邪典影视历史发展过程、邪典影视在英国的发展两个方面来阐述作为一种媒介景观的邪典影视,从不同的角度对邪典影视的概念加以界定和阐释,为厘清后文的写作思路奠定了基础。然后,详细地从英国邪典影视的艺术形态和文化意蕴对英国邪典影视的艺术形态进行深入探析,并精心挑选了极具典型性的英国影视作品进行文本分析。本文认为,英国邪典影视的艺术形态表现在故事题材更多表现社会的多元和当代人的精神现状,在视听语言风格方面通过反传统的镜头处理、运用多变的色彩与光线、旁白中情绪化的声音等不断进行创新,娴熟地交叉运用情节性叙事和“反情节性”叙事、叙述人称与视点、多样性结构故事等,形成独特的叙事风格。而英国邪典影视的文化意蕴就在于,恰到好处地再现了青年亚文化、反映了英国社会的变迁,尤其是其中的女性形象,其外貌、言行、心理等都体现出在亚文化群体中女性“并不真正在场”。在此基础上,归纳出英国邪典影视的独特之处以及探究“邪典”之于中国内地影视创作有无影响的可能。
[Abstract]:This paper mainly studies the artistic form, cultural implication and some problems related to the dark place of human spirit and soul. Evil film and television originated in the United States in the 1950s, and gradually developed to a more mature type, but has been a mainstream film and television outside of the world. Because of the cross-style, cross-type features, so in different regions with different features in front of the audience. With the deepening of cultural integration, a small number of viewers in mainland China have been attracted to this strange film and television spectacle by its unique forms of expression. However, no matter the mainstream film and television circles or academic theorists, there is little research on the evil film and television, which makes it difficult to enter the public view. In this paper, the author chooses the British evil film and television as the research object, so as to have an opportunity to explain the concept of the evil classic film and television more microscopically, and to analyze the composition of the evil classic film and television and its own artistic characteristics. For later researchers to open the door to continue to study evil film and television, and hope that the audience in the mainstream commercial blockbusters and art movies, in addition to occasional exposure to evil film and television works, through the author of this type of film and television works of elaboration and analysis, To understand this strange cultural phenomenon at a deeper level, and then hope that the film and television works of the evil code can enter the field of vision of more audiences through this kind of channel; second, by analyzing the artistic value, cultural connotation, aesthetic characteristics of the film and television works of the British evil code, etc. To increase the audience's choice of cultural diversity of this kind of film and television works, so that more viewers can understand the evil film and television works. In this paper, first of all, from two aspects of the historical development process of evil film and television, the development of evil classic film and television in Britain, as a kind of media landscape, this paper defines and explains the concept of evil classic film and television from different angles. It lays a foundation for clarifying the thinking of the later writing. Then, from the perspective of the artistic form and cultural implication of the British evil film and television, this paper makes a thorough analysis of the artistic form of the British evil classic film and television, and carefully selects the most typical British film and television works for text analysis. This paper holds that the artistic form of the British evil film and television shows that the story subjects are more representative of the diversity of the society and the present spiritual situation of contemporary people, and in the aspect of audio-visual language style, it is handled by anti-traditional lens, and the changing colors and light are used. The emotional voice in the narration is constantly innovating, skillfully using the plot narration and the "anti-plot" narrative, the narration person and the viewpoint, the diverse structure story and so on, forms the unique narrative style. And the cultural implication of British evil film and television is that it appropriately reproduces the subculture of youth and reflects the changes in British society, especially the image of women, their appearance, their words and deeds. Psychology and so on reflect in the sub-cultural group the female "is not really present". On the basis of this, we conclude the unique features of British evil film and TV and explore the possibility of influence of evil code on film and television creation in the mainland of China.
【学位授予单位】:昆明理工大学
【学位级别】:硕士
【学位授予年份】:2015
【分类号】:J905
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