当下中国电影的底层叙事研究

发布时间：2018-06-05 17:58

本文选题：底层叙事 + 叙事策略　；参考：《山东师范大学》2013年硕士论文

【摘要】：20世纪90年代以来，随着改革开放的深入发展，我国社会发展呈现出一系列新的阶段性特征。其中之一是，社会分层的趋势日益明显，底层问题也由潜隐状态上升至地表。为了能透视底层生活的本相，让“沉默的大多数”从正面发出声音，随着电影界对“底层”现象的关注，底层叙事开始在电影领域蔚然成风。底层叙事映现了社会文化变迁下底层的恶劣环境与艰难境遇，形成了以底层人物生存境遇为范畴的叙事机制。本文试从电影叙事学角度出发，旨在对当下中国电影底层叙事的基本策略进行梳理和分析。同时深入研究导演对影片的情感投射和赋予影片的现实主义意义，以电影独特的叙事表意功能和视觉表达优势，回归当下现实中的底层人物和底层生活，，传达导演坚定而朴素的人文主义关怀，唤起社会对底层的注视。本文共分为四大部分。第一部分探讨底层叙事的概念源起及它的两种表述模式，阐释当下中国电影底层叙事产生的社会背景和文化嬗变，从经济、政治、心理和文化联姻等方面进行梳理，揭示底层叙事出现和存在的意义。第二部分着眼于叙事策略的维度，对电影叙事复杂表意机制进行拆解，并以此为基础对底层影像的叙事内容、叙事视点、叙事时空和叙事结构进行探讨。结合具体例证，首先，从叙事学角度对影片内容进行解读，分析具体文本内底层人物的生存与压力、漂泊与困惑、坚守与放弃。其次，对叙事视点的三种聚焦模式的形式和作用进行分析。再次，在叙事时空方面，从灵活而真实的时间秩序和粗糙而虚构的空间景观两个部分着手，体现出当下中国电影的底层叙事的创新性。最后，在叙事结构上，分别从非情节式的散文结构和多维寓意的开放结构进行分析，发掘与常规电影结构不同的结构观念。第三部分探讨导演在叙事中的创作诉求，从外在审美环境的追求和内在情感立场的投射进行深入挖掘和具体论证，突破电影中“唯景观化”是从的藩篱，以达到从视觉化向精神化的突围和回归。外在审美环境从都市形象的颠覆和消解，小城生活的缩影和描写两个角度，开启了底层叙事的审美定位。内在情感投射践行着导演的审美风向和情感立场，分为导演情感的个性投射和共性投射，这两个板块之下又分别从不同的维度进行论述，以诠释导演创作诉求的异同。第四部分对当下中国电影底层叙事的意义与局限进行分析和阐述。首先，在意义言说部分说明底层叙事对社会和日后影片的启示，深入探讨底层叙事精神内核上贴近社会心理动向的状态，为电影中的底层叙事寻找一条适合本土发展的路径。其次，现存问题从现实、审美和市场三个方面为切入，阐发底层叙事所面临的局限和不足，以期对当下中国电影底层叙事研究起到查漏补缺的作用。
[Abstract]:Since the 1990s, with the deepening of the reform and opening up, the social development of our country has shown a series of new characteristics. One of them is that the trend of social stratification is becoming more and more obvious, and the underlying problems are also rising from latent to the surface. As the film circles pay attention to the "bottom" phenomenon, the bottom narrative begins to come into being in the film field. The bottom narration reflects the bad environment and difficult circumstances under the social and cultural changes, and forms a narrative mechanism with the subsistence situation of the bottom characters. This paper tries to start from the angle of film narration, aiming at the current Chinese film. The basic strategies of the bottom narrative are combed and analyzed. At the same time, the author deeply studies the director's emotional projection of the film and the realistic significance of giving the film, with the unique narrative ideographic function and visual expression advantage of the film, returning to the bottom people and the bottom life in the present reality, and calling the director's firm and simple humanistic care to arouse the director. A social look at the bottom.
This article is divided into four parts. The first part discusses the origin of the concept of the bottom narrative and its two modes of expression, explaining the social background and cultural evolution of the bottom narrative of the Chinese film, and combing the economic, political, psychological and cultural marriages to reveal the significance of the appearance and existence of the bottom narrative.
The second part, focusing on the dimension of narrative strategy, dismantling the complex ideographic mechanism of the film narrative, and on the basis of this, discusses the narrative content, the narrative view, the narrative time and space and the narrative structure of the underlying image. Survival and pressure, drifting and perplexity, persevering and giving up. Secondly, the form and function of the three focusing modes of the narrative viewpoint are analyzed. Again, in the narrative time and space, from the flexible and real time order and the rough and fictitious space landscape two parts, it embodies the innovation of the bottom narrative of the current Chinese film. Finally, From the perspective of narrative structure, it analyzes the open structure of non plot prose and multidimensional implication, and explores the structural concepts different from the conventional movie structure.
The third part explores the creative demands of the director in the narrative, excavates and concretely from the pursuit of the external aesthetic environment and the projection of the inner emotional position, and breaks through the barriers of "landscape only" in the film, so as to achieve the breakthrough and return from the vision to the spirit. The external aesthetic environment subverts and dispels the urban image, The epitome and description of the life of the small city two angles, open the aesthetic orientation of the bottom story. The inner emotion projection and the director's aesthetic direction and emotional position are divided into the individual projection and the common projection of the director's emotion, and the two plates are respectively discussed from different dimensions to explain the similarities and differences of the director's creative appeal.
The fourth part analyzes and expounds the significance and limitations of the bottom narrative in the current Chinese film. First, it explains the Enlightenment of the bottom narrative to the society and the film in the future, and explores the state of the social psychological trend in the core of the bottom narrative, and seeks a suitable local development for the bottom narrative in the film. Secondly, the existing problems, from three aspects of reality, aesthetics and market, elucidate the limitations and shortcomings of the underlying narrative, in order to find out the role of missing and missing the bottom narrative research in the present Chinese film.
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905

【参考文献】