鲁迅小说题材电影中的江南形象研究

发布时间：2018-05-18 04:31

本文选题：鲁迅小说题材电影 + 江南形象　；参考：《浙江师范大学》2013年硕士论文

【摘要】：鲁迅先生的四部小说《祝福》、《阿Q正传》、《药》、《伤逝》被改编成电影搬上了大银幕。本文以“江南形象”为切入点,从文化地理学、美学、社会学等角度来梳理这四部影片所呈现的“江南形象”,进一步探讨电影中的“江南文化”,以期在江南影像表达语境中获取其地域文化价值及审美意义。文章论述的主要框架如下：第一部分重点梳理这四部影片中所呈现出的江南景物意象,以期构建观众对“江南形象”的集体记忆。此部分既分析阐释影片中“杏花春雨、粉墙黛瓦、石街窄巷、小桥流水”的江南自然物质意象的客观具体存在,同时,结合影片的主题寓意,阐发影片时代背景下富有另类主观情思的江南景物意象以及其所表达出来的文化意蕴,从而彰显江南景物意象在电影想象与构建中的生态价值与文化表征。第二部分主要分析人物形象作为叙事主体在影像中的个性呈现。特征人物作为联结江南地域与文艺想象的鲜活形象,已成为了影像江南表达语境中一个不可或缺的文化标签。此部分重点透过对影片所塑造的“祥林嫂”、“子君”、“阿Q”、“华老栓”这些江南时代政治背景下典型人物的剖析,旨在引申出江南人委屈隐忍的个性气质。第三部分整合阐发江南民俗在影片中所展呈出的文化意蕴。此部分通过对影片中江南过年、婚丧嫁娶、祭拜等民俗意象的阐述,进一步再现旧时代江南特有的地域文化。同时,通过对其中展现的江南民俗风情的“酒”、“茶馆”、“越剧”、“民歌”的论述,从而梳理出江南独具地域特色的文化内涵。这四部电影中所谱系的江南景观意象、人物形象、民俗意象足以引起受众对“江南形象”的审美感知,而后现代主义电影中“江南形象”的淡化与消解,也使得进一步追寻“江南形象”在影像中的展呈,用“江南形象”的影响力打造新的“中国想象”成为当务之急。
[Abstract]:The four novels of Mr. Lu Xun, "blessing >", "a Q", "Medicine >", were adapted into a movie with a big screen. This paper, taking "the image of the south of the Yangtze River" as the breakthrough point, combs the "Jiangnan image" from the angles of cultural geography, aesthetics and sociology to further discuss the "Jiangnan culture" in the film, with a view to the river in the river. The main frame of the article is as follows:
The first part focuses on the image of the Jiangnan scenery presented in the four films, in order to construct the collective memory of the "Jiangnan image" by the audience. This part analyzes the objective concrete existence of the natural material images of the south of the Yangtze River in the film, which is "apricot flower and spring rain, powder wall Daiwa, narrow lane of stone street, small bridge water", and the theme of the film. The implication is to elucidate the image of the Jiangnan scenery and the cultural meaning expressed in the background of the film era, which is rich in alternative subjective feelings, and to highlight the ecological value and cultural representation of the image of the south of the Yangtze River in the imagination and construction of the film.
The second part mainly analyzes the personalities of the characters as the narrative subject in the image. As the vivid image of the Jiangnan region and the imagination of literature and art, the characters have become an indispensable cultural label in the expression context of the south of the Yangtze River. "Q" and "Hua Lao Shuan" are the typical figures in the political background of the Jiangnan era. The purpose is to draw out the character of the Jiangnan people.
The third part explains the cultural implication of the Jiangnan folk custom in the film. Through the exposition of the folk imagery of the film in the south of the Yangtze River, marriage and funeral marriage, and worship, this part further reproduces the unique regional culture of the Jiangnan in the old times. At the same time, through the "wine", "tea house", "Yue Opera" and "Yue Opera" of the folk customs of Jiangnan in the old times. The "folk song" is discussed in order to carve out the unique cultural connotation of Jiangnan's unique regional characteristics.
The images, characters and folklore images of the four films are enough to arouse the audience's aesthetic perception of the "Jiangnan image". The desalination and digestion of the "Jiangnan image" in the postmodernism film also make a further pursuit of the exhibition of "Jiangnan image" in the image, and create a new influence with the influence of "the image of the south of the Yangtze River". The "Chinese imagination" has become a top priority.
【学位授予单位】：浙江师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905

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