知青影视研究

发布时间：2018-06-29 00:24

  本文选题：知青影视 + 理想主义　； 参考：《武汉大学》2015年博士论文

【摘要】：知青影视是指以知识青年上山下乡运动为创作素材,表现知青在插队或返城之后的生活与情感的作品。随着上个世纪50年代知青运动的爆发,知青影视也相应地出现在银幕之上,并在“文革”之后全面繁盛,直到新世纪以来,仍然久演不衰,几乎每年都有新作涌现。目前,知青影视作品已有100余部,但很多作品鲜为人知,而学界对它的研究也并不充分。从发展历程上来,知青影视创作主要分为四个阶段：前知青时期以回乡知青题材为主,旨在配合官方的政策宣传,动员现实中的知识青年下乡务农,扎根农村；“文革”时期知青电影数量较少,主要借鉴样板戏电影的创作经验而完成,旨在配合现实政治,宣传阶级斗争；新时期知青题材的影视作品大量涌现,在展露伤痕、诉说苦难的同时反思历史,宣扬理想主义精神；后新时期一度沉寂的知青影视借怀旧风潮再度崛起,呈现出多元化的艺术形态,多以成功者的话语立场宣扬“青春无悔”与劫后辉煌。上山下乡的经历既荒废了一代青年的大好青春也铸就了他们的精神品格,这股极具对抗的张力也渗进了影视创作之中。知青影视中最为凸显的莫过于对“青春无悔”、理想主义的呼唤与宣扬,前者已成为评判知青历史的话语逻辑,且与“忏悔”话题相纠缠,备受学界质疑,后者是前者的精神底色,被界定为知青群体最高的思想境界,一笔激励人生的宝贵的精神财富。从文化的维度来看,创作者始终站在城市与乡村的文化夹缝当中,以断裂的文化态度来表现知青生活,导致知青影视中的人物长期陷入一种逃离与回归的怪圈,以及在城乡文化认知上的矛盾态度。从历史的维度来看,创作者基本采用了一种疏离历史的创作态度,将知青历史界定为苦难史,并从“心史”的角度来诉说苦难,总体怀旧有余反思不足。在知青婚恋这个历史敏感话题的诠释方面,呈现在知青影像中的情感故事多是浪漫的,美好的,虽然有遗憾但仍让人无限怀念,总体感性有余理性不足,影像与现实存在明显的错位。在人物形象的塑造方面,为了建立自我的想象认同,创作者多让知青群体占据银幕的中心位置,以理想自我的形象来重塑人物,因此呈现在知青镜像中的人物形象多是美好的,甚至是完美无暇的,包括乡村女性,她们身上寄托着创作者对乡村的诗意想象。
[Abstract]:The film and television of educated youth refers to the work of life and emotion of educated youth after jumping in line or returning to the city. With the outbreak of the educated youth movement in the 1950s, the film and television of educated youth also appeared on the screen accordingly, and flourished after the "Cultural Revolution". Until the new century, it still lasted for a long time, and almost every year new works emerged. At present, educated youth film and television works have more than 100, but many works are not well known, and the academic research on it is not enough. From the development process, the film and television creation of educated youth is mainly divided into four stages: before the educated youth period to return to the subject matter of educated youth mainly, in order to cooperate with the official policy propaganda, mobilize the real intellectual youth to go to the countryside to work in agriculture, take root in the countryside; During the "Cultural Revolution" period, the number of educated youth films was relatively small, mainly drawing on the experience of the creation of model opera films, in order to coordinate with realistic politics and publicize class struggle; in the new period, the film and television works on the subject of educated youth appeared in large numbers, showing their scars. While recounting suffering and reflecting on history and promoting the spirit of idealism, the film and television of educated youth, which was once silent in the post-new period, rose again with nostalgia and took on a diversified artistic form. Many successful people's discourse stand to promote "youth without regret" and after the brilliant robbery. The experience of going to the countryside has not only wasted the youth of a generation of young people, but also molded their spiritual character. This extremely confrontational tension has also infiltrated into the film and television creation. In the film and television of educated youth, nothing is more prominent than "youth without regrets", the call and promotion of idealism, the former has become the discourse logic of judging the history of educated youth, and it is entangled with the topic of "repentance", which has been questioned by academic circles. The latter is the spiritual background of the former, which is defined as the highest ideological realm of the educated youth group and a valuable spiritual wealth that inspires life. From the perspective of culture, the creators always stand in the gap between urban and rural culture, with a broken cultural attitude to express the life of educated youth, resulting in the characters in the film and television of educated youth fall into a strange circle of escape and return for a long time. And in urban and rural cultural cognition of contradictory attitudes. From the perspective of history, the author basically adopts a creative attitude of alienation from history, defines the history of educated youth as the history of suffering, and tells suffering from the angle of "history of heart". In the interpretation of the sensitive topic of marriage and love among educated youth, most of the emotional stories presented in the images of educated youth are romantic and beautiful. Although they have regrets, they still make people yearn for them. In general, there is a lack of sensibility and rationality. There is obvious dislocation between image and reality. In the aspect of shaping the character image, in order to establish the self-imagination identity, the creators let the educated youth group occupy the center position of the screen, and reshape the character with the ideal self image, so it is beautiful to present the character image in the educated youth mirror image. Even perfect women, including rural women, have their poetic imaginations of the country.
【学位授予单位】：武汉大学
【学位级别】：博士
【学位授予年份】：2015
【分类号】：J905
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本文编号：2080013