20世纪90年代以来哥特电影研究

发布时间：2018-06-27 18:03

本文选题：哥特电影 + 鬼怪幽灵　；参考：《南京师范大学》2014年硕士论文

【摘要】：20世纪90年代以来,哥特电影逐渐表现出向类型片的靠拢趋势,在无论影像还是人物、叙事方面越来越呈现出某些共同特征。哥特电影对非常态的人物有一种近乎痴迷的偏爱,以吸血鬼为代表的鬼怪幽灵和疯癫者是哥特电影中的两种典型形象。在叙事上,哥特电影逐渐形成了某种情节模式——复仇与找寻的叙事母题、二元对立的冲突设置和富有道德寓意的结尾,并善于运用以下叙事策略——叙事盲区的有意保留、重复叙事和设置角色化叙述者。阴郁压抑的色彩、神秘恐怖的光影以及典型的哥特式场景等则共同构成了哥特电影独特的影像风格。
[Abstract]:Since the 1990s, Gothic films have gradually shown a tendency of drawing closer to genre films, showing more and more common characteristics in terms of both images and characters. Gothic films have an almost obsessive preference for abnormal characters, and ghosts and crazy people represented by vampires are two typical images in Gothic films. In terms of narrative, Gothic film has gradually formed a kind of plot moties-the narrative motif of revenge and search, the conflict setting of dualistic opposition and the end of moral meaning, and is good at using the following narrative tactics-the intentional reservation of narrative blind zone. Repeat narration and set up character narrator. The dark and repressed color, the mysterious and horrible light and shadow, and the typical Gothic scene make up the unique image style of Gothic film.
【学位授予单位】：南京师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

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