90年代以来的大陆青春电影研究

发布时间：2018-05-19 00:31

本文选题：青春电影 + 爱情　；参考：《西南大学》2014年硕士论文

【摘要】：青春电影在世界电影上作为一种类型或题材一直是被描写表达的对象。中国大陆青春电影的发展则比较晚,与其他国家或地区的青春电影相比,似乎不尽如人意。相对于美国好莱坞成熟的类型青春电影,中国大陆青春电影在早期中国电影史上无一席之地；相对于台湾地区“小清新”风格的青春电影,大陆青春电影始终没有形成自己的风格。在学术界,关于大陆青春电影的研究起步较晚,研究成果也有待丰富和完善。20世纪90年代中国大陆青春电影出现了新的面貌,特别是近几年(2013年中国大陆掀起了一股“青春片”风潮)的大陆青春电影出现了新的变化。基于以上认识,对90年代以来大陆青春电影的研究不仅具有现实意义也具有理论价值。不仅有利于发现大陆青春电影的发展变化、创作更好的青春电影,从文化研究角度关照大陆青春电影也具有创新理论价值。本文通过观看大量青春电影,为青春电影做界定,并试图从文化研究角度对90年代以来大陆青春电影做母题研究,对其中包括的爱情、成长、叛逆、梦想、迷惘元素分别作了相应分析,具体框架如下：绪论部分,交代本文的研究背景、文献综述和对青春电影作界定。第一章,青春之悸动,讲述90年代以来大陆青春电影中多样化的爱情表达模式,包括纯爱、性启蒙、偷尝禁果和我的爱情我做主。而对于爱情的表达大致呈现出从纯爱过度到爱情消费的发展道路；第二章,青春之成长,讲述90年代以来大陆青春电影中的不同类型的成长主题,包括文革青春、边缘青春、校园青春和都市青春。从这个方面来看,大陆青春电影呈现从文艺青春电影过度到商业青春电影的轨迹；第三章,青春之叛逆,讲述90年代以来大陆青春电影中的叛逆元素,包括对父权的反抗、对传统文化的反叛和对外部世界的反抗; 第四章,青春之梦想,讲述90年代以来大陆青春电影中不同的梦想表达,包括个人化的梦想、集体式的梦想和少数人的梦想空白。在梦想表达方面,大陆青春电影总体呈现残酷青春的颓败气息；第五章,青春之迷惘,分析90年代以来大陆青春电影中的迷惘主题,包括自我身份的缺失、个人价值观的混乱和对社会现实的迷惘。90年代的大陆青春电影中总是表现着对应时代的社会面貌和青年群体的迷惘和困惑；最后结论部分总结90年代以来的大陆青春电影发展成就和不足,并给出个人观点。针对大陆青春电影类型单一、受众模糊、缺乏“道德前提”等问题,如何确立自己的风格将是大陆青春电影面临的重要难题。而审查制度的改革和电影分级制的确立将有利于中国大陆青春电影出现更自由的创作和更多元的表达。
[Abstract]:Youth film has always been described and expressed as a type or subject matter in world films. The development of youth movies in mainland China is relatively late, compared with the youth films of other countries or regions, it does not seem to be satisfactory. Compared with the mature types of youth movies in Hollywood, mainland China has no place in the history of early Chinese films; compared with the "small and fresh" style youth films in Taiwan, Mainland youth films have never formed their own style. In academic circles, the research on the mainland youth films started late, and the research results need to be enriched and perfected. In the 1990s, the Chinese mainland youth films appeared a new look. Especially in recent years, there has been a new change in Chinese youth films. Based on the above understanding, the study of mainland youth films since 1990's has not only practical significance but also theoretical value. It is not only helpful to discover the development and change of the mainland youth film, but also has the innovative theoretical value to create the better youth film from the angle of cultural research. Through watching a large number of youth movies, this paper defines youth movies, and tries to study the motif of mainland youth films from the perspective of cultural research, including love, growth, rebellion, dreams, etc. The lost elements are analyzed respectively, and the specific framework is as follows: The introduction part explains the research background, literature review and definition of youth film. The first chapter, the throbbing of youth, tells of the variety of expressions of love in the mainland youth movies since the 1990s, including pure love, sexual enlightenment, stealing forbidden fruit and my love. The expression of love shows the development road from pure love to love consumption. The second chapter, the growth of youth, describes the different types of growth themes in the mainland youth films since the 1990s, including the Cultural Revolution youth, marginal youth, campus youth and urban youth. From this point of view, the mainland youth film shows the transition from the literary youth film to the commercial youth film track; The third chapter, the rebellious youth, tells of the rebellious elements in the mainland youth films since the 1990s, including the resistance to patriarchy, to the traditional culture and to the outside world. The fourth chapter, the dream of youth, tells of the different dream expressions in the mainland youth movies since the 1990s, including the individual dream, the dream of the collection and the dream blank of a few people. In terms of the expression of dreams, the mainland youth movies on the whole show the decay of cruel youth; The fifth chapter, the loss of youth, analyzes the lost theme in the mainland youth movies since the 1990s, including the lack of self-identity. The confusion of personal values and the confusion to the social reality. In the mainland youth movies of 1990s, it always shows the social appearance of the corresponding era and the confusion and confusion of the youth group; The last part summarizes the achievements and shortcomings of the development of the mainland youth films since 1990's, and gives personal views. Aiming at the problems such as the single type of youth film in mainland China, the vague audience and the lack of "moral premise", how to establish one's own style will be an important problem facing the young film in mainland China. The reform of censorship system and the establishment of film classification system will be conducive to the emergence of more free creation and multi-element expression of youth films in mainland China.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J909.2

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