多重文化视点下的李安电影研究

发布时间：2018-05-16 16:10

本文选题：多重文化 + 李安　；参考：《山东师范大学》2014年硕士论文

【摘要】：李安出身书香世家，自幼备受“子曰诗云”熏陶，对儒、道、佛等中华文化有极深厚感情。同时，他对西方文化亦有深刻理解，是一位学贯中西，在全球电影界有着巨大声望的华人导演。多元文化共存的现代社会，他清醒认识到弘扬民族传统，文化征服的力量。因此，他自觉服膺中国传统伦理，将传统伦理文化、民族符号根植其中，展示了海外游子深沉坚韧的寻根情怀，表现出中国电影人强烈的文化归属意识和延续传统的主动担当。同时，他又不墨守传统成规，迷信古人权威，而是宽容接纳西方文明，尊崇文化时代特色。文化包容、兼收并蓄的中和态度共同构成了李安电影的精神皈依。自1992年推出处女作《推手》以来，李安共创作了《喜宴》（1993）、《饮食男女》（1994）、《理智与情感》（1995）、《冰风暴》（1997）、《与魔鬼共骑》（1999）、《卧虎藏龙》（2000）、《绿巨人》（2003）、《断背山》（2005）、《色戒》（2007）、《制造伍德斯托克》（2009）、《少年派的奇幻漂流》（2012）等11部作品，其中5部中文片，6部外语片。题材丰富，贯通中西；文化启悟，可谓深长。本文以这11部电影为分析文本，拟分四章，分别从李安电影的主题意蕴、影像风格、多重性文化教养及偏颇得失等方面论述李安电影的多重文化特征。绪论主要论述论文的课题背景及研究缘起，认真梳理了课题的研究现状、存在问题及研究价值。同时针对目前研究非系统性、非整体性的特点，提出了自己的研究思路与创新之处。第一章主要论述李安电影的主题意蕴。对人的关注是李安电影中永恒不变的主题。他的电影中始终贯穿的是父亲形象的探讨、人性与人伦的反思等文化议题。通过不同文化背景下，父亲形象的困境与重构，指出了传统伦理文化在现代社会中面临的困境及出路。此外，对人性的探讨是贯穿李安电影的又一主题思想，他不断扩大自我行为的边界，到达人性人情的共通处，通过对不同文化背景中，复杂人性的深刻揭露与审视，传达出李安对人的普遍关注。第二章主要论述李安电影的影像风格。李安虚心学习好莱坞先进电影语言和制作体制，推崇戏剧式文本建构；同时又用传统文化为其树立起一面镜子。静水流深的镜头语言、浓淡相宜的电影色调、有节制的音乐铺陈、干净利落的剪辑和场面调度以及诗意的电影意境等，，形成了李安式淡雅平和的影像风格。这种整体上稳、平、缓的柔性与电影主题的表达高度契合。第三章主要论述李安电影的主题意蕴与影像风格的成因。李安之所以能游刃有余的自由游走中西文化间，对人类生存哲学有深刻体悟，归根结底源自他多重性的文化教养、边缘性的文化身份以及生存环境的多元。这种不可复制的文化经历成就了其不可多得的经典力作。第四章主要论述李安电影在多重文化探寻中的得失考辩。他的电影在人文意蕴与商业诉求，民族性与时代性中达成了难能可贵的平衡，但也存其不足。因此，进一步考辩其偏颇，从而进一步启迪华语电影的未来发展还是有必要的。李安以世界性的视野书写故事，以一种不偏不倚、不疾不徐的叙事态度，将东西方文化融会贯通，保持着一颗文化表达的赤子之心，传达出一个中国电影人尊重艺术、尊重电影的可贵精神。李安的电影，站在东方的文化立场上来说，是西方的；站在西方的文化立场上来说，则是东方的。正是这“亦东亦西”的特质，使他的电影具有了超越东西方的艺术魅力。
[Abstract]:Ang Lee, who is a scholar of the book of calligraphy, has been nurtured by "Confucius" and has profound feelings about Chinese culture such as Confucianism, Taoism and Buddhism. At the same time, he has a profound understanding of western culture. He is a Chinese director who has a great reputation in the world of Chinese and Western culture. As a result of the power of cultural conquest, he consciously took the traditional Chinese ethics, rooted the traditional ethical culture and national symbols, showed the deep and tenacious seeking of the overseas visitors, showed the strong cultural sense of belonging and the continuation of the tradition of the Chinese filmmakers. At the same time, he did not stick to the traditional rules and superstitious the authority of the ancients. It is tolerant of Western civilization and respecting the characteristics of the cultural age. Cultural inclusion and eclectic neutralization together constitute the spiritual conversion of Ang Lee's films.
Since the launch of the debut of the virgin in 1992, Li Angong has created the wedding banquet (1993), drink and eat men and women (1994), reason and emotion (1995), ice storm (1997), the devil ride (1999), crouching tiger, Hidden Dragon (2000), the giant Green Giant (2003), the back mountain (2005), the color ring (2007), the Woodstock > (2009), the juvenile fantasy drifting (2012) and other 11 There are 5 Chinese films and 6 foreign language films. The subjects are rich in subject matter and through the Chinese and Western countries; the cultural enlightenment is long. This article takes the 11 films as the analysis text and intends to divide the four chapters to discuss the multiple cultural characteristics of Ang Lee films from the themes of Ang Lee's film, image style, multiple cultural rearing and biased gains and losses.
The introduction mainly discusses the background and origin of the thesis, and carefully combs the research status, problems and value of the research. At the same time, it puts forward its own research ideas and innovation in view of the non systematic and non holistic characteristics of the research.
The first chapter mainly discusses the theme of Ang Lee's film. The attention to people is the eternal theme in Ang Lee's film. His film has always run through the cultural issues such as the discussion of the image of the father, the reflection of human nature and human nature, and the dilemma and reconstruction of the image of the father in different cultural backgrounds, and points out the traditional ethics culture in modern society. In addition, the discussion of human nature is another theme that runs through the Ang Lee film. He constantly expands the boundary of his self behavior and reaches the common place of human nature. Through the profound disclosure and examination of the complex human nature in different cultural backgrounds, he conveys Ang Lee's universal attention to people.
The second chapter mainly discusses the image style of Ang Lee's film. Ang Lee's heart to learn the language and production system of Hollywood's advanced film, and to admire dramatic text construction; at the same time, it sets up a mirror with traditional culture. Scene scheduling and poetic movie artistic conception have formed a Ang Lee style and elegant image style. The overall stability, flat, gentle flexibility and the expression of the film theme are highly fit.
The third chapter mainly discusses the meaning of the theme of Ang Lee's film and the causes of the image style. The reason why Ang Lee can freely walk away from the Chinese and Western cultures and have a profound understanding of the philosophy of human existence, in the final analysis, is derived from his multiplicity of cultural rearing, marginal cultural identity and the pluralism of the living environment. This non replicable cultural classics The calendar has accomplished its rare classics.
The fourth chapter mainly discusses the gains and losses of Ang Lee's film in multiple cultural exploration. His film has reached an invaluable balance in the cultural implication, the commercial appeal, the nationality and the times, but also has its shortcomings. Therefore, it is necessary to further examine its bias and further the future development of Qi Dihua's film.
Ang Lee writes stories in a worldwide field of vision with an unbiased, unpleasant narrative attitude, integrating the eastern and Western cultures, maintaining a cultural expression of the red heart and conveying a Chinese filmmaker's respect for art and respect for the valuable spirit of the film. Ang Lee's film, standing on the eastern cultural standpoint, is the West. From the Western cultural standpoint, it is the East. It is the characteristic of "also East and west", which makes his films have the artistic charm beyond the East and the West.

【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

【参考文献】