类型学视角下的中国大陆贺岁片研究

发布时间：2018-05-25 14:35

本文选题：类型学 + 贺岁片　；参考：《曲阜师范大学》2013年硕士论文

【摘要】：贺岁片，作为中国电影市场一支重要的分支，自从大陆第一部贺岁片《甲方乙方》后，至今已走过了十几年的路程。从第一部贺岁电影的一枝独秀到现在贺岁档期贺岁电影的百花齐放，贺岁片的发展用日新月异形容似乎也不为过。但是，由于急速发展，贺岁片在发展过程中产生了很多问题，遇到了很多波折，其中，对于贺岁片的争议在学术界和理论界也一直没有停顿，争议最大的依然是贺岁片的概念，究其本质就是关于贺岁片“类型说”和“档期说”的区别，即贺岁片到底是“喜剧类型片”还是在“贺岁档期下放映的所有影片”。在本文，笔者试图在类型学说的视角下对中国大陆贺岁片进行探索，希望能从无论是喜剧类型贺岁片还是以贺岁名义上映的其他类型贺岁片中对中国大陆贺岁市场有一个更加全面的认识。本文致力于以中国大陆贺岁片发展十几年以来的贺岁片为主要研究资料，在汲取前人研究成果的基础上结合归纳、总结的研究方法，以类型学视角及电影类型理论依据对中国大陆十几年来的贺岁片进行了详细的分析和梳理，希望为中国大陆贺岁电影的发展贡献一点微薄之力。从中国大陆贺岁片概述和类型学理论、冯小刚为代表的喜剧类型贺岁片、贺岁档期下的其他类型贺岁片为主要内容进行系统的论述。文章共分为四部分：第一部分以中国大陆贺岁片的发展历程为支点，全面总结中国大陆贺岁片的发展过程和类型变化，指出中国大陆贺岁片的发展从萌芽期、发展期到现在的的成熟期及各个时期的类型特点，并结合类型学及电影类型理论对贺岁片进行梳理；第二部分通过以冯小刚为代表的喜剧类型贺岁片对喜剧类型贺岁片进行探析，从喜剧的娱乐本质和贺岁文化出发，得出喜剧类型片是最切合中国传统贺岁文化的贺岁片类型；第三部分在“档期说”的支持下，研究中国大陆贺岁市场从贺岁片到贺岁档的转变及贺岁片类型的变化，并从这些变化中分析中国大陆贺岁市场的困境及出路；最后，文章从中国传统的贺岁文化心理和受众的需求进行总结，喜剧类型片一直是最受欢迎的贺岁片，但是随着时代的发展和人民文化素质的提高，其他类型贺岁片的产生也是必然趋势，，需要冷静看待这一变化。文章从类型学的角度对中国大陆的贺岁电影进行整体分析和归纳，对各种类型贺岁片进行全面把握，力求站在全局的角度全面客观看待中国大陆贺岁电影，既不能被贺岁片的表面繁荣冲昏头脑，也不能被现在出现的各种问题所吓倒，中国大陆的贺岁电影亟待更好的发展措施对其保驾护航。
[Abstract]:As an important branch of Chinese film market, Chinese New year Film has gone through more than ten years since the first Chinese New year film, Party A Party B. From the first Chinese New year movie alone to the present Chinese New year season New year movie blooming, the development of the New year film seems to be changing with each passing day can not be described too. However, due to the rapid development of New year films, there have been many problems in the development process and encountered many twists and turns. Among them, the controversy over New year films has never stopped in the academic and theoretical circles. The most controversial issue is still the concept of New year's films. The essence of the film is about the difference between "type theory" and "grade theory", that is, whether the new year's film is a comedy type film or all the films shown under the new year's holiday season. In this paper, the author tries to explore the Chinese mainland New year films from the perspective of type theory. We hope to have a more comprehensive understanding of the Chinese mainland's New year's Day market from comedy and other types of New year's Festivals released in the name of New year's Day. This paper is devoted to taking the Chinese New year films developed for more than ten years as the main research materials, combined with the research methods summarized on the basis of drawing on the previous research results. From the perspective of typology and the theory of film types, this paper makes a detailed analysis and combing of the Chinese New year films in the past ten years, hoping to contribute a little bit to the development of the New year movies in mainland China. From the outline and typology theory of New year's Film in mainland China, the main contents of this paper are as follows: Feng Xiaogang is the representative comedy type of New year's Day, and other types of New year's Film under New year's Day are the main contents of this paper. The article is divided into four parts: the first part, based on the development of the Chinese mainland New year film as the fulcrum, summarizes the development process of the Chinese mainland New year film in an all-round way. It points out that the development of Chinese New year films from the budding stage, the development period to the present maturity period and the type characteristics of each period, and combined with typology and film type theory to sort out the New year films; The second part through the Feng Xiaogang as the representative of the new year comedy type of comedy New year film analysis, from the comedy entertainment nature and New year culture, the comedy type film is the most suitable for the traditional Chinese New year culture New year film type; The third part, with the support of "the theory of the period of time", studies the change of the Chinese New year market from New year's Day to New year's Files and the change of the new year's film type, and analyzes the predicament and outlet of the Chinese mainland's New year's Day Market from these changes. Based on the traditional Chinese New year culture psychology and the needs of the audience, comedy films have been the most popular New year movies, but with the development of the times and the improvement of the people's cultural quality, The emergence of other types of New year films is also an inevitable trend, need to calm down this change. From the perspective of typology, this paper makes a comprehensive analysis and induction of the New year movies in mainland China, and makes a comprehensive analysis of the various types of New year movies. To have a comprehensive grasp and to make every effort to take a comprehensive and objective view of Chinese New year films from a comprehensive and objective perspective can neither be intimidated by the apparent prosperity of the New year films, nor can they be intimidated by the various problems that are now appearing. Chinese mainland New year movies need better development measures to protect them.
【学位授予单位】：曲阜师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905

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