直辖以后电影重庆的研究

发布时间：2018-06-16 04:27

本文选题：电影重庆 + 影像传播　；参考：《重庆工商大学》2014年硕士论文

【摘要】：重庆直辖以来，中国电影对重庆的呈现方式于以往历史时期就有明显不同。作为中国西部近几年发展最快的城市之一，重庆，也因为直辖获得快速发展的机会，成为中国最典型的新兴大都市和转型社会最有代表性的城市社会空间。在重庆我们可以发现大城市大农村并存，城乡二元结构是异常突出的。伴随直辖，重庆经过十多年的发展，，其本身甚至整个中国经济、社会经历了快速的发展，加之，中国电影业的改革等历史因素的影响，电影中的重庆想象方式还在发生着变化。这样，无论在城市的物理空间还是社会历史语境方面，其复杂的多元性特征使“重庆城”这个场所在影像中构建强烈的戏剧性。重庆不仅是一个明确的地域空间，还是一个有着更多话语权和情感体验的场所。这让笔者对作为电影文本中被想象构建起来的重庆，产生浓厚的兴趣。选择这个时期上的重庆影像的重要意义也因此显而易见。本论文就试图对重庆直辖后这一时期的电影进行分析，笔者将选取《三峡好人》、《生活秀》、《日照重庆》、《迷城》、《秘岸》、《好奇害死猫》、《疯狂的石头》、《门》等八部以重庆为电影拍摄地的电影为主要的影像研究文本。反观现在对电影重庆的研究，还主要集中在城市电影的层面，比如介绍重庆电影的历史，分析重庆电影的文本，以及关注在重庆形象的传播研究上。而对电影中重庆影像的研究却有着很大的空缺，本文作者将从直辖后电影中的重庆影像的角度分析研究，着重关注超越城市经验之上，导演对城市的叙述，以及地域与空间的意义阐释。重庆本身是个视觉化丰富的城市,电影与重庆的结合,又为重庆开辟出新的观察空间和表现手段,展现了它在银幕上新兴的都市景观。电影中所呈现的不是真实的重庆，而是经过主创者想象和阐释的重庆。当草根叙事、身体的意象、狭窄的城市空间通过重复的影像呈现建构起了一个稳定的重庆符号之后，重庆城市电影作为区域电影中的重要一环，也正在建立起属于自己的类型、风格和叙事模式。通过对重庆电影中重庆符号的解读试图探讨电影文本中被想象的重庆的现实意义。
[Abstract]:Since Chongqing has been directly under the central government, the presentation mode of Chinese films to Chongqing has been distinctly different from the previous historical period. As one of the fastest growing cities in Western China in recent years, Chongqing has become the most representative urban social space of the most typical emerging metropolis and transformation society because of the opportunity to develop rapidly. We can find that the big cities and large rural areas coexist, and the two yuan structure of the urban and rural areas is outstanding. With the development of more than 10 years, Chongqing has undergone a rapid development in itself even the whole Chinese economy, and the influence of the reform of the Chinese film industry and other historical factors, the Chongqing imaginary way in the film is still changing. In this way, both in the physical space of the city and in the social and historical context, its complex pluralism makes the place of "Chongqing city" strong and dramatic in the image. Chongqing is not only a clear regional space, but also a place with more discourse power and emotional experience. This makes the author as a film text. Chongqing, which is supposed to be constructed, has great interest. The importance of choosing Chongqing images in this period is obvious.
This paper tries to analyze the films of Chongqing after the central government, and the author will select the eight films, such as the good people of the Three Gorges, the life show, the sunshine Chongqing, the fan city, the secret bank, the curious and the death of the cat, the crazy stone, the door, and so on, which are the main images of the film based on the film in Chongqing.
In contrast, the present study of film Chongqing is mainly concentrated on the level of urban film, such as the introduction of the history of Chongqing films, the analysis of the text of the Chongqing films, and the study of the communication of the image of Chongqing. But there are great vacancies in the study of the image of Chongqing in the movie, and the author of this article will be from the Chongqing image in the film after the central government. An angle analysis, focusing on beyond the city experience, the narrative of the city by the director, and the interpretation of the meaning of the region and space. Chongqing itself is a visually rich city, the combination of film and Chongqing, and a new observation space and expression for Chongqing, showing its emerging urban landscape on the screen. It is not the real Chongqing, but the Chongqing which has been imagined and interpreted by the creator. After the grass root narration, the body image, the narrow city space and the stable Chongqing symbol through the repeated image, the Chongqing city film is an important part of the regional film, and is also building its own class. Type, style and narrative mode. Through the interpretation of Chongqing symbols in Chongqing movies, we try to explore the realistic meaning of Chongqing in the movie text.
【学位授予单位】：重庆工商大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905;G206

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