电影与梦的运作

发布时间：2018-07-11 14:04

本文选题：弗洛伊德 + 麦茨　；参考：《上海师范大学》2014年硕士论文

【摘要】：弗洛伊德释梦是将梦的显意转换为隐意的过程，这个概念很直观：显意即梦境，是梦的表象，也是梦者能感知并描述出的内容隐意则是梦真正的意图和所指，也就是梦者通过梦境所传达的意识显意与隐意的关系，就如索绪尔的能指与所指的关系符号学开创阶段以索绪尔语言学理论为基本模式，符号学研究发生重大转折则是受麦茨研究电影的方式与弗洛伊德精神分析理论影响，这两者的融合标志着第二符号学的诞生电影第二符号学关注的是人与影像的关系，它是建立在精神分析学之上，而精神分析学所探讨的是人和梦本能无意识欲望机制的关系麦茨的贡献就是将语言学精神分析学与电影符号学相结合，成为一个新的电影研究理论无论是从电影符号学的开创，还是到将精神分析学理论应用至符号学之中，，衍生出第二电影符号学，梦的运作梦的形态都贯穿于所有梦运作是显意到隐意，在电影符号学里是凝缩移置意象润饰等，精神分析学术语及理论被麦茨运用到电影符号学之中观影者与做梦者的类似电影与梦境的类似银幕等同于镜子的类似构成了电影符号学学者将弗洛伊德和拉康的理论套用于电影的基点麦茨使用想象的能指，表明了他将精神分析学和语言学方法相结合来研究电影的意图：把电影当成一种语言当成梦来进行研究电影的状态是一种醒着的活动，就如弗洛伊德所言，是有意识的幻想，醒着的白日梦研究电影的形式就如阐释梦的工作一般，梦，归属于精神分析，也同处于电影第二符号学笔者是要从源于精神分析学的梦的运作梦的状态，与电影符号学中电影的释解电影的状态的重合点——梦，谈电影符号学和精神分析及电影第二符号学中的梦在电影中的运用此梦非彼梦，梦仅仅是一个代名词，一种运作模式一种状态一个互换名词的中介梦是没有逻辑的，由于梦是右脑的产物造就电影的电影人的梦早已存在，电影人也逐步将梦的构造，思维融合于电影之中，造就出梦境和似梦境的情景将梦境直接搬于荧幕，现实中的符号梦境中的内容梦是电影中的现实，运用精神分析，展示出现代人焦虑郁闷的精神症候，用梦境来完成自我的定义梦与现实之间的差别或许就是对于是否符合逻辑，现实中的某一个人物某一举止某一地点都构成了一个符号，出现于梦境之中，而后被电影人罗列变换至电影之中诡异混沌迷惑反常的情景，在梦境之中被习以为常，电影利用梦，变得更为绚丽多彩电影被麦茨称之为醒着的白日梦，其实电影本身就是一个富有逻辑的天马行空的行为，而电影之中的梦是非逻辑的右脑产物
[Abstract]:Freud's interpretation of a dream is a process of converting the meaning of a dream into an implicit one. The concept is intuitive: the meaning is the dream, the appearance of the dream, and the content the dreamer can perceive and describe is the real intention and the meaning of the dream. In other words, the dreamer conveys the relationship between consciousness, meaning and implication through dreams, such as Saussure's signifier and signifier's relationship semiotics, which is based on Saussure's linguistic theory. The major turning point in semiotics research is influenced by the way Metz studies films and Freud's theory of psychoanalysis. The fusion of the two represents the birth of the second semiotics, and the second semiotics focuses on the relationship between man and image. It is based on psychoanalysis, and what psychoanalysis explores is the relationship between human beings and the unconscious desire mechanism of dreams. The contribution of Metz is the combination of linguistic psychoanalysis and film semiotics. To become a new film research theory, not only from the creation of film semiotics, but also from the application of psychoanalysis theory to semiotics, the second film semiotics. The operation of dreams the form of dreams runs through all the dream operations are explicit to implicit, in the film semiotics is condensed shifting image retouching, etc. Psychoanalysis academic language and theory applied by Metz to film semiotics. Similar to movies and dreamers. Movies and dreamers are analogous to the mirror, which constitutes the film semiotics scholars will Freud and Lacan. The basic point of the set of theories used in movies, Metz, is to use imaginary signifiers, It shows his intention to study films by combining psychoanalysis with linguistic methods: to study movies as a language as a dream is a waking activity, as Freud put it, a conscious fantasy. The form of waking daydream studies is like the work of interpreting dreams. Dreams, belonging to psychoanalysis, are also in the same state that the author of the second semiotics of the film wants to start with the operational dream of a dream derived from psychoanalysis. Dream, the coincidence point with the interpretation of film in the film semiotics, discusses the application of the film semiotics and psychoanalysis and the dream in the film second semiotics. The dream is only a synonym. A mode of operation, a state, an interchangeable noun intermediary dream is illogical. Because dreams are the product of the right brain, the dreams of filmmakers who make films already exist, and filmmakers are gradually structuring their dreams. Thinking fuses in the movie, creates the dream and the scene like the dream to move the dream directly to the screen, the realistic symbol dream content dream is the movie reality, uses the psychoanalysis, displays the modern person anxiety depressed spirit symptom, The difference between a dream to define itself and reality may be that whether it is logical for a person in reality to behave in a certain place constitutes a symbol that appears in the dream. Then they were transformed by filmmakers into strange, chaotic and perverse scenes in the movies, and they were used to the dreams, and the movies used them to become more colorful and colorful, which was called a waking daydream by Metz. In fact, the movie itself is a logical act, and the dream in the film is a product of non-logical right brain.
【学位授予单位】：上海师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J90-05

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