贾樟柯电影的底层关怀

发布时间：2018-06-05 15:19

本文选题：贾樟柯 + 底层关怀　；参考：《西南大学》2014年硕士论文

【摘要】：贾樟柯作为中国新生代导演的中坚人物,他与“第五代”前辈不同,始终坚持自己对底层的关怀。戴锦华曾说贾樟柯是“中国最后一位电影人”,他用自己独特的方法,为我们记录下了各种各样的底层人物。第一章首先就贾樟柯的家庭生活背景对他电影创作的影响。在此,文章主要选取了对于贾樟柯电影创作有极其重要影响的几个背景,至于其它详细的背景,限于文章篇幅在此不作赘述。其次,这样一个人会有一个怎样的极具个人风格的电影创作世界。这一节内容分成三点具体论述了一下贾樟柯电影最重要的特征,长镜头、摄影对象的本色化和纪实是他的武器。第二章正式进入贾樟柯的电影世界。这一章共论述了三部贾樟柯的电影,也是他前期最重要的三个作品,被称为“故乡三部曲”,是贾樟柯对于自己记忆中在汾阳生活底层形象的记录。第一部电影《站台》为我们讲述上世纪八十年代一群县城文工团演员的悲欢人生。他们自认为是社会的精英,但在那个剧变的时代,他们还是迷失了自己。第二部电影《小武》带我们进入了一个鲜为人知的行业——扒手,然而这个为所人痛恨的小偷却有着不同寻常的情感生活。虽然他一无所有但却非常珍惜感情,可结局是朋友、爱人和亲人相继抛弃了他。小武无法适应社会剧变之下人情的变幻,最终走进监狱。第三部电影《任逍遥》的主角是两个叛逆的少年和一个姑娘,他们都不满意自己现实的生活,想要逃脱困境,但这一切只能是妄想。第三章先讲贾樟柯在拍完《世界》后的转变,首先是他的视角更为广阔,他不再局限于记忆中的家乡,而是将目光投向了繁华都市中的边缘人和三峡移民等。这让他的电影有了更为丰富的社会文化意义,也导致了他摄影风格、画面处理的一些改变,但是他的底层关怀仍然延续,这是贾樟柯电影非常重要的一种坚持。后面又对他转变后的两部代表作《世界》和《三峡好人》中的底层——“北漂”和移民的真实生存状态做了详细的论述。这在文中有具体的解释。文章通过对贾樟柯底层形象的论述尝试图解贾樟柯在创作过程中最重要的特征——底层关怀。
[Abstract]:Jia Zhangke, as the backbone of the new generation of Chinese directors, is different from the "fifth generation", and always insists on his concern for the bottom. Dai Jinhua once said Jia Zhangke was "the last Chinese filmmaker" and used his own unique method to record all kinds of underworld characters for us. The first chapter is about the influence of Jia Zhangke's family life background on his film creation. Here, the article mainly selected for Jia Zhangke film creation has the extremely important influence several background, as for the other detailed background, limits the article space in here does not do the elaboration. Second, such a person would have a very personal style of film creation world. This section is divided into three parts: the most important features of Jia Zhangke's films are the long lens, the authenticity and the reality of the subjects. The second chapter formally enters Jia Zhangke's film world. This chapter discusses three films of Jia Zhangke, which are also the most important works in his early period, and are called "hometown trilogy", which is Jia Zhangke's record of the bottom image of life in Fenyang in his memory. The first film, platform, tells us about the sorrowful life of a group of artists in the county town in the 1980's. They thought they were the elite of society, but they lost themselves in that time of upheaval. The second movie, Xiao Wu, takes us into a little-known industry, pickpockets, but this hated thief has an unusual emotional life. Although he has nothing, but very cherish feelings, but the outcome is friends, lovers and relatives have abandoned him. Xiao Wu can not adapt to the social upheaval under the change of human feelings, eventually into the prison. The protagonist of the third film, "Ren Xiaoyao", is two rebellious teenagers and a girl. They are not satisfied with their real life and want to escape the predicament, but all this can only be delusional. The third chapter first talks about Jia Zhangke's transformation after he finished filming "World", first of all, he has a broader perspective. He is no longer confined to his hometown in memory, but has turned his eyes to the marginal people in the bustling city and the immigrants from the three Gorges, and so on. This makes his films have more social and cultural significance, and also leads to some changes in his photography style and image processing, but his bottom care continues, which is a very important insistence of Jia Zhangke's films. After that, the author discusses in detail his two masterpieces, the World and the bottom of "Beijing drifters" and the real living state of the immigrants in "the World" and "the good people of the three Gorges". This is explained in detail in the article. This paper tries to illustrate Jia Zhangke's bottom image by illustrating the most important feature of Jia Zhangke's creation-the bottom care.
【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】：J905

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