影视艺术中的萧红形象研究

发布时间：2018-06-19 23:19

本文选题：萧红 + 影视形象　；参考：《信阳师范学院》2017年硕士论文

【摘要】：萧红以其独特的文学语言、文学体裁和艺术特色成为了中国现代文坛上艺术个性很强的女作家,而其短暂坎坷的人生经历,也是文学史上经常谈论的话题。关于萧红作品及其人生经历的研究和讨论一直在持续,并且在新时期出现了新的“萧红热”现象。近年来,影视界对这位女作家也表现出很大的热情,关于她的电影接连上映,萧红形象从文学界迅速走进了大众视野。这其中,电影的成就功不可没。目前学术界对于萧红影视形象的研究多集中在女性意识的传达、人物悲剧命运的解读、影视语言对人物形象的塑造、影视萧红文学属性的探究以及当下消费文化在影视萧红形象上的投影,在影视形象的具体分析和两种艺术形式下的形象比较方面尚存可供探索的空间。现存含有萧红形象的影视作品中,以电影《鲁迅》、《萧红》、《黄金时代》中的萧红形象最具代表性。在电影《鲁迅》中,萧红的影视形象呈现为活泼率真、敏感好强的青年,这一形象主要服务于影片主要人物形象——鲁迅的塑造,为了烘托出鲁迅对于青年的关爱和日常生活化的一面,影片展现的只是萧红的生活片段和性格的某一方面,并不是一个完整的萧红。在电影《萧红》中,萧红的形象呈现为情路坎坷的女作家。影片将萧红与四位男性的感情纠葛作为主线,侧重于表现“爱情”的主题,其间穿插萧红文学创作的画面,以诗意唯美的镜头语言,叙述其跌宕起伏的感情与命运悲剧,刻画萧红的性格,展现萧红在不同境遇下的内心世界。在电影《黄金时代》中,萧红的形象呈现为去悲剧化的民国知识分子形象。影片采用客观化的叙事手段,同时突出了萧红作为民国知识分子代表身上所具有的精神自由、人格独立、乐观豁达等形象特质,冲淡了萧红人生经历的悲剧性。视听符号与文字符号的媒介差异,导致了影视萧红与文学萧红在人物故事叙述方式上的差异,即文学中单纯以时间线索组织情节的时间叙述,和影视中时间线索与空间镜头共同组织的时空叙述。这种叙述方式上的差异,使得阅读方式产生了平面线性阅读与立体空间阅读的差异,从而引起了人物形象审美上直观呈现与抽象想象的不同。在萧红形象的创作上,文学萧红是由具体作品的某一位作家描写刻画的,因此在形象的表现上带有这位作家强烈的个人感情倾向;而影视萧红是由具体作品的创作群体集体勾勒塑造的,其中编剧、导演和演员对于影视萧红的呈现有决定性的作用。作为文化产物,影视与文学的内容都在一定程度上反映了当时的文化背景,影视是大众文化传播的重要载体,文学是精英文化传播的重要载体。影视萧红和文学萧红各自表现出来的特征分别映射了大众文化和精英文化在文化场域中的发展变化。本文以电影《鲁迅》、《萧红》、《黄金时代》为蓝本,结合影视的相关知识具体分析影视中萧红形象的塑造,探究萧红影视形象表现的方式和主题,用以将文学作品中的萧红形象与影视作品中的萧红形象进行对比,从而探讨不同的艺术形式对于萧红形象塑造的作用。
[Abstract]:Xiao Hong, with his unique literary language, literary genre and artistic features, has become a female writer with a strong artistic personality in the modern Chinese literary world. His short and rough life experience is also a topic often talked about in the history of literature. The study and discussion of Xiao Hong's works and his life experience have been continuing, and new times have appeared in the new period. In recent years, the film and television circles have shown great enthusiasm for this woman writer. As for her films, the image of Xiao Hong quickly enters the field of vision from the literary world. Among them, the achievements of the film can not be ignored. At present, the research on the image of Xiao Hong film and television is concentrated on the transmission of female consciousness and the tragic character of the characters. The interpretation of the fate of the drama, the molding of the characters of the film and television language, the exploration of the literary attributes of the film and television and the projection of the current consumption culture in the image of the Shaw red in the film and television, the specific analysis of the image of the film and television and the comparison of the images under the two forms of art are still available. In the film < Lu Xun > the image of Xiao Hong's film and television shows a lively, frank, sensitive and strong youth. This image mainly serves the image of the main characters of the film, Lu Xun, in order to show the love and daily life of Lu Xun to the young. The film shows only the life fragment of Xiao Hong and some aspect of his character, not a complete Shaw red. In the film "Xiao Hong", Xiao Hong's image presented as a bumpy female writer. The film takes the emotional entanglement of Xiao Hong and four men as the main line, focusing on the theme of "love love", during which he interspersed the paintings created by Xiao Hong literature. In a poetic and aesthetically beautiful lens language, it describes the ups and downs of feelings and tragedies, portrays Xiao Hong's character and shows the inner world of Xiao Hong under different circumstances. In the golden age of the film, Xiao Hong's image presents a tragic image of the intellectuals in the Republic of China. The film adopts an objective narrative method and highlights Xiao Hong at the same time. As the representative of the intellectuals in the Republic of China, the spiritual freedom, independence, optimism and immunity of the representatives of the Republic of China dilute the tragedy of Xiao Hong's life experience. The media difference between the audiovisual symbols and the characters of the characters leads to the difference in the narrative formula of the story between the film and the film red and the literary Xiao Hong, that is, the time clue group is only in the literature. The time narration of the plot and the time and space narration organized by the time clue and the space lens in the film and television. The difference in the narrative mode makes the reading way produces the difference between the plane linear reading and the three-dimensional space reading, thus causing the difference between the visual representation and the abstract imagination of the figure's image. The literary Xiao Hong is depicted by a writer of specific works, so the writer has a strong personal emotional tendency in the expression of the image, and the film and television Xiao Hong is collectively shaped by the creative groups of the specific works. The writers, directors and actors have a decisive role in the presentation of the shadow of Shaw red. The content of film and television and literature reflect the cultural background of the time to a certain extent. Film and television is an important carrier of the spread of mass culture. Literature is an important carrier of the spread of elite culture. The characteristics of the film and television Xiao Hong and the literature Xiao Hong reflect the development and change of the popular culture and the elite culture in the cultural field respectively. With the film < Lu Xun > < Xiao Hong > "golden age >" as the blueprint, combining with the related knowledge of film and television, this paper analyzes the shape of the image of Xiao Hong in the film and television, explores the ways and themes of the performance of Xiao Hong film and television, so as to compare the image of Xiao Hong in the literary works to the Xiao Hongxing images in the film and television works, so as to discuss the different artistic forms. The role of the image of Yu Xiaohong.
【学位授予单位】：信阳师范学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J905

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