中国大陆公路电影叙事美学研究

发布时间：2018-06-28 04:30

本文选题：中国大陆公路电影 + 人物　；参考：《扬州大学》2017年硕士论文

【摘要】：公路电影是电影世界里的一个重要组成部分,产生于上个世纪五、六十年代,延续至今。新世纪初中国大陆出现了第一部公路电影。经过近二十年的发展,一批口碑和票房都不错的公路电影脱颖而出,也引起了学术界的关注。本文以新世纪以来的大陆公路电影为研究对象,聚焦于大陆公路电影的叙事艺术,从人物、空间与叙事策略等方面探究大陆公路电影的叙事美学。绪论部分首先对公路电影的发展历程进行回顾,在此基础上尝试提炼公路电影的概念:作为一种类型片,公路电影是以公路作为基本叙事空间,以“行者”为主人公,采用旅行叙事或道路叙事的手法,叙述主人公从一地到达另一地的过程,通常以逃亡、流浪或寻找为主题,反映了主人公对人生或对自由的向往和追寻。新世纪以来中国大陆公路电影呈现出蓬勃的发展势头,成为中国大陆电影界一种不可忽视的类型电影。研究者们对国外公路电影和大陆公路电影的研究成果为本文对中国大陆公路电影的叙事美学的研究奠定了坚实的基础。第一章聚焦于中国大陆公路电影中的“行者”——“在路上”的人。中国大陆公路电影中的人物,主要包括农民工、中产阶层和青年人三种类型。他们因为不同的原因而“上路”。这些身份、地位、文化修养、经历、生存状态等有很大差异的“行者”,构成一组组“群像”,展现了当代中国人的生存图景。第二章围绕着中国大陆公路电影的空间符号展开分析。本文将空间符号分为道路空间、交通工具空间以及风景空间三种。中国大陆公路电影充分运用了这些空间符号,并使之富有隐喻意义和文化意义。如道路,既是物质意义上的高速公路、乡间小路,也是精神意义上的“逃离之路”、“返乡之路”……这些空间符号成为透视中国现实的重要媒介。第三章从叙事策略入手,探讨中国大陆公路电影在叙事方式上的特点。在叙事模式、人物设置、叙事结构和母题原型等方面,中国导演们一方面延续了西方公路电影的套路,一方面进行了本土化的创新。在具体的叙事手法上,中国大陆公路电影呈现出多元化的努力,如笑与泪的耦合,拼贴与戏仿的后现代叙事手法的运用等。镜头的叙事也在视角、镜头的角度以及特殊镜头视角的运用等方面多有创新,增强了电影的表现力。第四章对当前中国大陆公路电影的叙事所存在的问题进行反思,指出同质化、娱乐化和奇观化以及类型单一、精神内核缺失、真实的被遮蔽等问题。并尝试提出解决的对策,如在类型上的进一步突破和多元化发展,增强精神内涵,民族化内容的进一步充实等。公路电影作为当代中国电影的一个重要类型电影,兼娱乐、教化、审美等功能于一身,也是当代中国社会文化的晴雨表。期待中国大陆公路电影有更好的发展。
[Abstract]:Road film is an important part of the film world, originated in the 1950s and 1960s, and continues to this day. The first road film appeared in mainland China at the beginning of the new century. After nearly 20 years of development, a number of road movies with good reputation and good box office stand out, and also attracted the attention of the academic community. This paper focuses on the narrative art of the mainland highway movies in the new century, and explores the narrative aesthetics of the mainland highway movies from the aspects of characters, space and narrative strategies. In the introduction part, the author reviews the development of highway film, and tries to refine the concept of highway film: as a kind of film, highway film takes highway as the basic narrative space and "walker" as the protagonist. By means of travel narration or road narration, the protagonist's process from one place to another is described, usually with the theme of escape, vagrancy or search, which reflects the protagonist's yearning and pursuit of life or freedom. Since the beginning of the new century, the highway movies in mainland China have shown a vigorous development trend and become a kind of film which can not be ignored in the film industry of mainland China. The research results of foreign highway movies and mainland highway films lay a solid foundation for the study of narrative aesthetics of Chinese mainland highway movies. The first chapter focuses on the people on the road in the highway film of mainland China. The characters in the mainland road movies mainly include migrant workers, middle-class and young people. They are on the road for different reasons. These "walkers" with great differences in identity, status, cultural accomplishment, experience and living state form a group of "group images", showing the survival picture of contemporary Chinese. The second chapter focuses on the analysis of the space symbol of the highway film in mainland China. This paper divides the space symbol into three kinds: road space, vehicle space and landscape space. The Chinese mainland highway movies make full use of these spatial symbols and make them full of metaphorical and cultural meanings. For example, the road is not only a material highway, a country road, but also a spiritual way to escape and return home. These spatial symbols have become an important medium for the perspective of China's reality. The third chapter starts with the narrative strategy and discusses the characteristics of the narrative mode of the highway film in mainland China. In the aspects of narrative mode, character setting, narrative structure and motif archetype, Chinese directors on the one hand continue the routine of the western highway film, on the other hand, carry on the localization innovation. In terms of specific narrative techniques, highway movies in mainland China show diversified efforts, such as the coupling of laughter and tears, the use of collage and parody post-modern narrative techniques and so on. The narrative of lens is also innovative in angle of view, angle of lens and application of special lens angle, which enhances the expressive power of film. The fourth chapter reflects on the problems existing in the narration of highway movies in mainland China, pointing out the problems of homogeneity, entertainment and wonder, singularity of type, lack of spiritual core, and the truth being obscured. And try to put forward the countermeasures, such as the further breakthrough in the type and diversified development, strengthen the spiritual connotation, the further enrichment of nationalization content, and so on. As an important type of contemporary Chinese film, highway film has the functions of entertainment, education and aesthetics, and it is also a barometer of contemporary Chinese social culture. Looking forward to a better development of mainland China road film.
【学位授予单位】：扬州大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J901

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