新时期中国都市爱情电影的审美特征研究

发布时间：2018-07-03 15:47

本文选题：新时期 + 都市爱情电影　；参考：《西南大学》2014年硕士论文

【摘要】：艺术源于生活,又服务生活。电影艺术作为一种特殊的艺术形式,是反映生活的重要载体,生活中的真、善、美和假、丑、恶会在电影中得到赞扬或批评。新时期以来,随着改革开放的逐步深入和市场经济的建立,中国城市化进程日益加快,中国的社会语境、都市居民的生活方式及审美观念发生了深刻的变化,看电影成为都市人群重要的休闲、娱乐的方式,电影影片所传达的信息也对观众的生活方式和审美观念产生影响。爱情作为人们生活不可或缺的一部分,是电影创作的重要的构成内容,都市爱情电影的发展也就成为了新时期以来都市人群审美观念变化的重要反映。面对好莱坞商业大片的非审美化倾向,在消费文化语境下的中国都市爱情电影正在发生巨大的改变,本文从艺术美学的视角和电影类型学角度切入,在仔细梳理新时期以来国产都市爱情电影创作脉络的基础上,力图对其审美特征、成因及其嬗变做系统性分析研究。针对新时期以来中国都市爱情电影流变的脉络梳理,笔者主要从三个阶段对其进行总结,分别是：(1)20世纪80年代,中国电影开启暗藏已久的“爱情”,背负时代主题的爱情影片兴起,此阶段的“都市”成为爱情电影故事的背景地；(2)20世纪90年代,城市经济迅速发展,在市场驱动下,都市爱情电影数量激增,都市爱情电影作为满足城市平民娱乐需要的大众文艺形式应运而生,渐成一种类型电影,影片呈现出市场化特征,表现内容生活化,艺术风格通俗化和文化特色的本土化；(3)21世纪以来,中国都市爱情电影中“都市”成为重要表现对象,对爱情的表达方式百花齐放,物质杠杆仍居主位,并且出现后现代和网络特色相互交织的特征。通过对其创作格局的梳理,可以将新时期中国都市爱情电影的审美特征总结为：(1)八十年代中国都市爱情电影朴素原始,主要呈现出“宏大叙事”,爱情成为政治理性审美的附庸；思想破封,现实主义审美传统仍是主流；伤痕与反思,人性开始回归等特征。(2)九十年代中国都市爱情电影的市场化特征显现,呈现出审美文化转型：从精英审美转向大众化审美；审美多元化；迷失与异化的现代性反思,宏大叙事审美被消解等特征。(3)二十一世纪工业化、信息化背景下,后现代和网络特色相互交织,都市爱情电影的表达方式百花齐放,但物质杠杆仍居主位,都市爱情电影呈现出消费主义盛行,重物质而轻精神,审美情感成为“审美消费品”：后现代主义审美泛滥,都市人群情感陷入焦虑；视觉文化的冲击显出扬感官而弃深度的特征。通过对审美特征及成因的分析可以看到新时期以来中国都市爱情电影的审美嬗变趋势为物质审美在不断发展,精神审美却在逐渐压缩,同时凸显出当代都市人群爱情的审美困境。基于以上中国都市爱情电影的审美特性,笔者从两个维度进行了成因分析：(1)社会语境的转变。包括社会组织、经济的转型对其的推动作用；西方影视审美文化对中国都市爱情电影的冲击与影响；随着市场经济的建立,商业文明也冲击了整个电影业。(2)人们的审美方式的转型。主要表现在都市人群审美方式的改变与人文精神的审美失落。
[Abstract]:Art, as a special form of art, is an important carrier of life, and the real, good, beautiful and false in life, the ugly and the evil will be praised or criticized in the film. Since the new period, the process of China's urbanization has been accelerated with the gradual deepening of reform and opening up and the establishment of the market economy. The social context of the country, the way of life and the aesthetic concept of urban residents have undergone profound changes. Watching movies become an important leisure, entertainment, and the information conveyed by film films have an influence on the way of life and the aesthetic concept of the audience. Love is an indispensable part of human life and is a film creation. The development of urban love film has become an important reflection of the changes in the aesthetic concept of urban crowds since the new period. In the face of the non aesthetic tendency of the Hollywood commercial blockbusters, the Chinese urban love movies are undergoing great changes in the context of consumer culture. This article from the perspective of art and aesthetics and the type of film. On the basis of carefully combing the context of the creation of domestic urban love films since the new period, the author tries to make a systematic analysis of its aesthetic characteristics, causes and changes.
In view of the context of the evolution of Chinese urban love movies since the new period, the author mainly summarizes it from three stages: (1) in 1980s, Chinese movies opened the "love" which had been hidden for a long time, and the love films that bear the theme of the Times rose, and the "city" of this stage became the background of the love film story; (2) 20 In the 90s of the 20th century, urban economy developed rapidly. Under the drive of the market, the number of urban love films increased sharply. As the popular literature and art form to meet the needs of urban civilian entertainment, urban love movies emerged as the times require, gradually becoming a type of film. The film showed the characteristics of the market, the content of life, the popularity of artistic style and cultural characteristics. (3) since twenty-first Century, "city" in Chinese urban love movies has become an important object of expression. The expression of love is all over a hundred flowers, material leverage is still in the main position, and the characteristics of post modern and network characteristics intertwine.
Through the combing of its creation pattern, the aesthetic features of Chinese urban love films in the new period can be summed up as follows: (1) in 80s, the urban love film in China was simple and primitive, mainly showing "grand narrative", and love became the appendage of Political Rational aesthetic; thought breaking seal, realistic aesthetic tradition is still the mainstream; scar and reflection, The characteristics of human nature began to return. (2) the market characteristics of urban love movies in China appeared in 90s, showing the transformation of aesthetic culture: from elite aesthetic to popular aesthetics; aesthetic pluralism; modernity reflection of lost and alienated, grand narrative aesthetics being eliminated. (3) under the background of industrialization and information in twenty-first Century, Post-modern and network characteristics intertwined, the expression of urban love movies all flowers bloom, but material leverage still lives in the main position, urban love movies show the prevalence of consumerism, heavy material and light spirit, aesthetic feelings become "aesthetic consumer goods": post modernist aesthetic flooding, urban crowd emotion into anxiety; visual culture The impact shows the characteristics of raising the senses and abandoning the depth. Through the analysis of the aesthetic characteristics and causes, we can see that the aesthetic evolution trend of the Chinese urban love movies since the new period is the continuous development of the material aesthetics, the spiritual aesthetics is gradually compressed, and the aesthetic predicament of the contemporary urban crowd is highlighted.
Based on the aesthetic characteristics of the above Chinese urban love films, the author makes an analysis of the causes from two dimensions: (1) the transformation of social context, including social organization, the promotion of economic transformation, the impact and impact of western film and television aesthetic culture on Chinese urban love films; and with the establishment of market economy, commercial civilization is also rushed. The whole movie industry has been hit. (2) the transformation of people's aesthetic mode is mainly manifested in the change of aesthetic ways and the aesthetic loss of humanistic spirit.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J901

【参考文献】