华语女性电影的文化内涵

发布时间：2018-05-16 05:56

本文选题：女性电影 + 女性主义　；参考：《齐齐哈尔大学》2013年硕士论文

【摘要】：真正意义上的女性电影最早出现在华语影坛是在上世纪80年代，到90年代以后特别是2000年以来华语女性电影的艺术风格日益成熟，受到学术界和社会各界的瞩目。电影作为融合了众多艺术形式的综合性现代艺术必然承载了诸多文化内涵，华语女性电影亦然也是如此，一方面它深受华夏文明悠远历史文明的影响；另一方面它也受到了西方女性主义思想潮流的冲击，大胆的表达女性的欲望并努力探索女性生存的崭新道路。在女性电影焕发出别样的风采的同时，可以看到，，它的魅力是由丰富的文化土壤而勃发出的生命力，因而对于女性电影文化内涵的研究是一项重要的课题。本文主要分为六个部分：前言部分主要对女性电影的内涵进行界定，同时梳理女性电影的发展历史。第一章主要从女性电影中蕴含的女性文化内涵方面研究女性意识的觉醒，分析影片中对于女性形象的塑造，从母亲形象、同性爱恋、女性情谊、女童形象和“娜拉”式的出走结构等方面进行研究。第二章主要着手研究女性电影中塑造的男性形象及其文化内涵，分为父亲形象，男性爱人形象，男童形象三个部分的研究。探讨男权对于女性的压迫以及在新时期的濒临瓦解。第三章着手研究女性电影中蕴含的传统文化内涵，分为民间故事原型在影片中的应用，儒释道文化的体现以及女性电影对于精神故乡的追寻。第四章研究女性电影意象的文化内涵，主要从水的意象，田园意象与城市意象的勾陈，以及火车的意象来研究女性电影的文化内涵。其中涉及到景别，画内音，话外音及蒙太奇长镜头运用等影视方面的相关知识。结语部分对女性电影创作的突破和面临的机遇与挑战进行分析和归纳，常识给女性电影的发展提供理论意见。
[Abstract]:The real female films first appeared in the Chinese film world in the 1980s. After the 1990s, especially since 2000, the artistic style of the Chinese women's films became more and more mature, and attracted the attention of the academic and social circles. Film, as a comprehensive modern art with many artistic forms, must carry many cultural connotations, and so is the Chinese female film. On the one hand, it is deeply influenced by the long history and civilization of Chinese civilization. On the other hand, it is also impacted by the western feminist thought trend, boldly expresses the female desire and tries to explore the brand-new way of the female survival. While the female film radiates a different style, it can be seen that its charm is the vitality created by the rich cultural soil, so the study of the cultural connotation of the female film is an important subject. This paper is divided into six parts: The preface defines the connotation of female film and combs the history of female film development. The first chapter mainly studies the awakening of the female consciousness from the female culture connotation in the female film, analyzes the female image in the film, from the mother image, the same sex love, the feminine friendship, The image of girl and the runaway structure of Nora are studied. The second chapter mainly studies the male image and its cultural connotation in the female film, divided into three parts: father image, male lover image and boy image. To explore the oppression of male power on women and the imminent disintegration in the new era. The third chapter begins to study the connotation of traditional culture in women's films, including the application of folk story archetype in the film, the embodiment of Confucianism, Buddhism and Taoism culture and the pursuit of spiritual hometown in female films. The fourth chapter studies the cultural connotation of female film image, mainly from the image of water, rural image and city image, as well as the image of the train to study the cultural connotation of female film. It involves related knowledge of film and television, such as scene, internal sound, voice and montage long lens. The conclusion part analyzes and summarizes the breakthrough and opportunities and challenges faced by female film creation, and common sense provides theoretical advice for the development of female film.
【学位授予单位】：齐齐哈尔大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905

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