华语功夫武侠电影中“英雄”形象的文化身份书写

发布时间：2018-06-13 23:24

本文选题：华语功夫 + 武侠电影　；参考：《陕西师范大学》2014年硕士论文

【摘要】：文化全球化的时代浪潮为中国文化产品的对外输出提供了机遇,与此同时,全球化时代突破地域、民俗、文化乃至意识形态界限的资源共享所引起的对于东方文化的“奇观化”误读也对中华文明在世界范围内的传播带来了更大的挑战。作为民族文化输出最直观有效的方式,华语功夫、武侠电影以其景观化的武术打斗场面以及影片叙事中所蕴含的丰富中华传统内涵,突破障碍成为国际范围内受到广泛欢迎的类型片种。不同时期华语功夫、武侠电影中出现的大量性格迥异的“英雄”形象也受到了海内外学者的广泛关注。国民文化身份在影视作品中的建构直接影响到了国家形象和本土文化在国际范围内的传播。而文化身份在影视作品中的呈现正是中国政治、经济、文化发展在不同历史环境下的投射。因此,本文将选取自上世纪六十年代至今的华语功夫、武侠电影为研究文本,分析其故事情节安排,人物形象设置,与现实的隐含联系等,以社会学、文艺学、传播学为理论支撑,分析影片中的“英雄”形象是在不同的时代背景下形成的文化身份特点以及原因。文章通过分析在不同时代华语功夫、武侠电影中所塑造的最具有代表性的“英雄”形象以及其产生的时代与文化背景,旨在探讨不同历史时期华语电影所反映的不同时代中国人的文化身份认同。论文总共分为五个部分：绪论部分对华语功夫、武侠电影的现状以及选题的时代背景及意义进行了大致的分析,并对关于论文的核心概念——“文化身份”的研究进行了总结和梳理。第1章对同功夫、武侠电影进行了界定并对华语电影中的“英雄”形象体系进行了一个基本的归纳,即以江湖侠客为代表,源自艺术作品美好想象的理想型英雄；以历史英雄为代表,源自历史资料的精英式英雄以及充满后现代色彩,更接近日常生活的平民化英雄。第2章以个案分析的方式,对李小龙深受西方价值观影响的“英雄”形象,徐克电影《黄飞鸿》系列中面对东西方文化冲突的“师父”黄飞鸿形象以及《叶问》系列电影中叶问更具普世人文关怀的“一代宗师”形象等在艺术创作和人物设置上的特点进行了深入的分析。第3章以时间为轴,对华语功夫、武侠电影中的“英雄”形象从以“文化中国”为核心的传统侠士,到合拍片繁盛期面临东西方文化冲突有焦虑,有反思,有选择的复合型“英雄”,再到华语电影“大中华”时代寻求两岸三地深度文化联系的“文化共享型”英雄的流变历程进行了深入探析。总结了不同时期华人对于建构自身文化身份的认知与电影创作的联系。第4章通过对华语功夫、武侠电影“英雄”形象在时代发展中共性的总结,思考了中国人文化身份在华语电影乃至世界电影体系中的定位,对中华民族文化在全球化语境中的时代发展进行了初步的展望与探索。
[Abstract]:The era of cultural globalization provides an opportunity for the export of Chinese cultural products to the outside world. At the same time, the era of globalization breaks through regions and folklore. The misreading of oriental culture caused by the sharing of resources in the cultural and ideological boundaries also poses a greater challenge to the spread of Chinese civilization in the world. As the most direct and effective way to export national culture, Chinese kungfu, martial arts film with its landscape martial arts fighting scenes and the rich Chinese traditional connotation in the film narrative, Breaking through obstacles has become an internationally popular type of film species. In different periods of Chinese kung fu, a large number of "hero" images with different characters appeared in the martial arts movies, which have also been widely concerned by scholars at home and abroad. The construction of national cultural identity in film and television directly affects the national image and the spread of local culture in the international scope. The presentation of cultural identity in film and television works is the projection of Chinese political, economic and cultural development in different historical environments. Therefore, this paper will select the Chinese kungfu and martial arts films from the 1960s to the present as the research text, analyze the story plot arrangement, the character image setting, the implied relation with the reality, and so on, to sociology, literature and art, etc. Based on the theory of communication, this paper analyzes the characteristics and causes of the cultural identity formed in the film's "hero" image under different background of the times. This paper analyzes the most representative "hero" images created in Chinese kung fu films in different times, and the era and cultural background of their emergence. The purpose of this paper is to explore the cultural identity of Chinese people in different ages as reflected in Chinese films in different historical periods. The thesis is divided into five parts altogether: the introduction part makes a general analysis of the present situation of Chinese kungfu, martial arts movies and the background and significance of the selected topics. At the same time, it summarizes and combs the research on the core concept of the thesis-Cultural identity. The first chapter defines the same kung fu, martial arts film and the "hero" image system in the Chinese film for a basic induction, that is to say, with the quack-lake chivalrous person as the representative, from the artistic works of fine imagination of the ideal hero; Represented by historical heroes, elitist heroes derived from historical materials and popularized heroes who are full of postmodern colors and are closer to daily life. Chapter 2 is a case study of Li Xiaolong's "hero" image, which is deeply influenced by western values. The image of "Master" Huang Feihong in the series of Tsui Ke's films "Huang Fei Hong" facing the cultural conflict between the East and the West, and the image of "the Master of the Generation" in the "Ip Man" film series, which is more universal and humane, are in artistic creation and characters. The characteristics of the setup are analyzed in depth. The third chapter takes the time as the axis, to the Chinese language kungfu, the martial arts movie "hero" image from "the culture China" as the core traditional chivalrous person, to the co-production time faces the East and West culture conflict has the anxiety, has the introspection. The selective composite "hero" and the "culture-sharing" hero in the era of the Chinese film "Greater China" seeking the deep cultural ties between the two sides of the Taiwan Strait are deeply explored. This paper summarizes the relationship between Chinese cognition of constructing their own cultural identity and film creation in different periods. Chapter 4 summarizes the commonness of Chinese kung fu and martial arts movie "hero" in the development of the times, and thinks about the position of Chinese cultural identity in the Chinese language film and even the world film system. The development of Chinese culture in the context of globalization is preliminarily prospected and explored.
【学位授予单位】：陕西师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

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