中国灾难题材电影伦理叙事研究

发布时间：2018-05-18 18:43

本文选题：中国灾难题材电影 + 伦理叙事　；参考：《湖南工业大学》2017年硕士论文

【摘要】：近几年,在娱乐化浪潮和电影产业全球化的冲击下,灾难片频繁地出现在电影荧幕上。但不容忽视的是,中国灾难题材电影在政治性与商业化的夹缝中进退维艰,发展相对缓慢。自1957年石挥导演《雾海夜航》,到2002年张建亚拍摄《极地营救》,从2008年冯小宁拍摄《超强台风》,到2010年冯小刚打造《唐山大地震》,中国灾难题材电影走了一条漫长而蜿蜒之路。在人与自然的关系问题上,中国灾难题材电影继承了传统天人合一的思想,乐于传授、教导观众吸取教训,尊重人与自然平等和谐。相较而言,西方灾难题材电影更擅长体现西方社会一贯对抗自然的文化传统。在家与国,个体与集体关系上,传统儒家主张克己复礼,移孝作忠,中国灾难题材电影尤其像《惊涛骇浪》这种以救灾官兵为主要表现对象的电影,大力张扬的也正是舍小家为大家,舍个人为集体的牺牲精神。在人我关系上,传统儒家以忠恕之道践行自爱爱他的思想,时至今日,我们虽然宽容现实生活中出于生命本能的自救,但在公共舆论与电影艺术里,又习惯于从道德的高度歌颂那些舍己为人、富有奉献精神的人物与形象。这种自爱爱他、互帮互助的思想,归根结底源于从乡土意识发展而来的家国情怀与文化认同,中国灾难题材电影,也常常刻意渲染这样的情怀与文化。相比一般生活经验,人们对灾难经验极度缺乏,中国灾难题材电影有意无意地提供了间接的灾害经验,培养了观众的忧患意识。这些灾害经验与忧患意识的提供与培植,也让我们看到中国灾难题材电影不光歌颂传统的牺牲精神,也大力倡导生命的可贵与生存的意义。在中国灾难题材电影中,人物成了导演展现意识形态、叙述故事情节的主要载体。一般情况下,电影主角具有解救、教化、宣传的功能。中国灾难题材电影,多采用由“灾难发生——灾难应对——救灾行动——救灾成功”等环节构成的,依据因果联结成一体的线性叙事结构。中国灾难题材电影大都采用全知视点这种叙述视角视野广阔、转换灵活自如,可以满足观众渴望了解一切的愿望。为了突出矛盾,营造紧张气氛,以彰显生命的可贵,中国灾难题材电影往往压制时间、缩小空间,让灾难和救援在短促的时间与逼仄的空间内发生冲突。中国人“顺其自然”、“听天由命”的观念根深蒂固,也缺乏深切的创造力与悲剧精神,使中国灾难题材电影忙于温习已知的灾难,而无法“制造”或“预言”未知的困境。现有的中国灾难题材电影中,“主旋律”电影占绝大多数,除少数几位导演之外,中国灾难题材电影的创作多属“国家行为”。作为类型片,中国灾难题材电影吸引观众的并不是耐人寻味的剧情变换,也不是制作精良的后期剪辑,而是发自内心的感动和震撼。在好莱坞大片的引进加剧了我国电影市场的竞争时,要想改善我国电影发展局面除了提高技术条件,加大投资外,还应该塑造自己独特的文化灵魂。灾难题材电影借助特技集中展现人伦情怀与天人关系,既有利于思考中国传统文化与西方现代文明如何相融互补的问题,也可以提升中国电影的叙事能力。
[Abstract]:In recent years, with the impact of the wave of entertainment and the globalization of the film industry, disaster films have frequently appeared on the film screen. But what can not be ignored is that the Chinese disaster films have been struggling and developed slowly in the political and commercialized gap. From the 1957 wingy director < fog sea night >, by 2002, Zhang Jianya filmed "the polar rescue >," From Feng Xiaoning's "super strong typhoon" in 2008, and by Feng Xiaogang to create a "Tangshan earthquake" in 2010, the Chinese disaster theme film has taken a long and winding road. On the relationship between human and nature, Chinese disaster subject films inherit the idea of traditional harmony between heaven and man, be willing to teach, teach the audience to learn lessons and respect the equality between people and nature. In comparison, Western disaster films are better at reflecting the traditional cultural traditions of the western society. In the relationship between home and country, the individual and the collective, the traditional Confucianists claim that the Chinese disaster theme films are especially like the movies with the disaster relief officers as the main objects. In the relationship between man and me, the traditional Confucianists practice self love and love his thoughts in the way of loyalty and forgiveness. To this day, we tolerate the self rescue of life instinct in the real life, but in public opinion and film art, we are accustomed to the praise of those who have sacrificed themselves from the moral height. In the final analysis, the thought of self love and love and mutual help and mutual assistance is, in the final analysis, from the family state and cultural identity from the development of local consciousness. China's disaster theme films are also often deliberately exaggerated with such feelings and cultures. The disaster theme film provides the indirect disaster experience intentionally or unintentionally, and raises the audience's anxiety consciousness. The disaster experience and the provision and cultivation of the anxiety consciousness also let us see the Chinese disaster films not only sing the traditional sacrifice spirit, but also advocate the value of life and the significance of survival. The characters become the main carrier of the director to display the ideology and the narrative plot. In general, the film protagonist has the function of rescue, enlightenment and propaganda. The Chinese disaster films are composed of "disaster occurrence - disaster response - disaster relief action - disaster relief" and so on. Linear narrative structure. Chinese disaster films mostly use omniscient visual point of view, this narrative perspective is wide, flexible and flexible, can satisfy the desire of the audience to understand everything. In order to highlight the contradictions, create tension, to highlight the value of life, Chinese disaster films often suppress time, reduce space, disaster and rescue. There is a conflict between short time and cramped space. The Chinese people are ingrained in the idea of "taking the nature", "listening to the fate", and lack of deep creativity and tragic spirit, so that the Chinese disaster films are busy with the known disaster, but can not "make" or "predict" the unknown predicament. The existing Chinese disaster problem. In the film, "main theme" film accounts for the vast majority. In addition to a few directors, the creation of Chinese disaster films is mostly "national behavior". As a type of film, Chinese disaster films attract audiences not to be intriguing plot changes, not well made later clips, but from inner feelings and shocks. When the introduction of Hollywood blockbusters intensifies the competition in the film market of China, in order to improve the situation of the development of China's film, in addition to improving the technical conditions and increasing investment, we should also shape its own unique cultural soul. The disaster subject films show the relationship between human feelings and the human nature with the help of special effects, which is beneficial to the thinking of Chinese traditional culture. How to complement each other with modern western civilization can also enhance the narrative ability of Chinese films.
【学位授予单位】：湖南工业大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J905

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