“木兰电影”研究
发布时间：2018-07-15 15:47
【摘要】：花木兰作为中国家喻户晓的“明星”,她正式成名于《木兰诗》。从一个勇敢、孝顺的少女到今天传统文化中“孝道”文化的代言人,在木兰身上寄托的是几千年来中国大众对中华民族传统道德的美好想象。世代更迭,木兰的故事从最早的口头流传发展到诗歌、杂剧、通俗小说等各种艺术形式,在20世纪后更是走到了银幕前。经由电影这种全新媒介的演绎,木兰故事在不同时空中呈现出了各具特色的话语形态。笔者选择了电影史上的八部木兰影像作为研究对象:1)1924年《木兰从军》(摄影:黎民伟,主演:梅兰芳);2)1927年《花木兰从军》(导演:李萍倩,主演:胡珊);3)1928年《木兰从军》(导演:侯曜,主演:李旦旦);4)1939年《木兰从军》(导演:卜万苍,主演:陈云裳);5)1956年《花木兰》(豫剧电影)(导演:刘国权,主演:常香玉);6)1964年《木兰从军》(黄梅调电影)(导演:岳枫,主演:凌波);7)1998年《Mulan》(迪士尼出品动画片);8)2009年《花木兰》(导演:马楚成,主演:赵薇)。通过这八部木兰电影研究文本会发现:随着历史与时代语境的变换,电影中的木兰故事在情节和人物形象上都发生着微妙的变化。这些“变化”同拍摄年代的社会历史、文化语境是相互眺望、互为观照的关系。本文主要采用文献研究法、文本分析法与比较分析法,顺着电影史发展的脉络去考察研究木兰电影文本的改造工艺特点,系统地归纳总结木兰电影发展过程中的承变。第一章主要研究《木兰诗》、梅兰芳的“木兰戏”以及民国初年报刊杂志上关于“木兰”的相关报道。阐述这个故事在改编拍摄为电影前受众面广泛;第二章依照电影拍摄时间依次进入八部木兰电影的单独文本分析或两部影片文本间的对比分析,探索这些影片在故事讲述时的改造特点与创作趋向;第三章总结这批研究对象在改编过程中受影戏传统的影响以及同“民族”概念之间的勾连,在整理电影中木兰形象变迁的基础上,提出学界不应忽视木兰对自身性别的认同与喜爱。本文试着从横向与纵向的角度出发,关注“木兰从军”这个民间故事是如何在电影中转换着话语表达方式,成为一面折射出民族想象与时代话语的忽明忽暗的“镜子”,使得自身在全球文化的语境之中保持着长久的吸引力与生命力。
[Abstract]:As a famous Chinese star, Hua Mulan became famous in Mulan Poems. From a brave and filial young girl to the spokesman of "filial piety" culture in the traditional culture today, it is the beautiful imagination of the Chinese people to the traditional morality of the Chinese nation for thousands of years. From generation to generation, Mulan's story from the earliest oral spread to poetry, zaju, popular novels and other forms of art, in the 20th century is even before the screen. Through the deduction of the new medium of film, Mulan story presents its own discourse form in different time and space. The author chose eight Mulan images in film history as the object of study: 1) in 1924, "Mulan from the Army" (photo: Li Minwei, starring in Mei Lanfang), 1927 "Hua Mulan joining the Army" (directed: Li Pingqian, (director: Hou Yao, star: Li Dan-dan) 1939 "Mulan from the Army" (director: Bu Wan Cang, star: Chen Yunzhang) 5) 1956 < Hua Mulan > (Henan Opera film) (director: Liu Guoquan, director: Liu Guoquan) (director: Yue Feng, star: Ling Bo) 1998 < Mulan > (Disney cartoon) 8) 2009 < Hua Mulan > (directed: Ma Chu-cheng, starring: Zhao Wei). Through the study of the eight Mulan films, it is found that with the change of historical and contemporary context, the story of Mulan in the film has undergone subtle changes in plot and character image. These changes are closely related to the social history and cultural context. This article mainly adopts the literature research method, the text analysis method and the comparative analysis method, according to the development of the film history to investigate and study the Mulan film text transformation craft characteristic, summarizes the Mulan movie development process in the inheritance systematically. The first chapter mainly studies Mulan Poems, Mei Lanfang's Mulan Drama and the related reports on Mulan in the early Republic of China. The second chapter, according to the time of film shooting, goes into the separate text analysis of eight Mulan films or the comparative analysis between the two films. The third chapter summarizes the influence of the traditional film and the concept of "nation" in the process of adaptation. On the basis of sorting out the changes of Mulan's image in the film, the author points out that the academic circles should not ignore the recognition and love of Mulan's own gender. This paper tries to focus on how the folk story of Mulan from the perspective of horizontal and vertical changes the expression of utterance in the film and becomes a "mirror" which reflects the national imagination and the discourses of the times. Make oneself in the context of global culture to maintain a long-term attraction and vitality.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J905
本文编号：2124585
[Abstract]:As a famous Chinese star, Hua Mulan became famous in Mulan Poems. From a brave and filial young girl to the spokesman of "filial piety" culture in the traditional culture today, it is the beautiful imagination of the Chinese people to the traditional morality of the Chinese nation for thousands of years. From generation to generation, Mulan's story from the earliest oral spread to poetry, zaju, popular novels and other forms of art, in the 20th century is even before the screen. Through the deduction of the new medium of film, Mulan story presents its own discourse form in different time and space. The author chose eight Mulan images in film history as the object of study: 1) in 1924, "Mulan from the Army" (photo: Li Minwei, starring in Mei Lanfang), 1927 "Hua Mulan joining the Army" (directed: Li Pingqian, (director: Hou Yao, star: Li Dan-dan) 1939 "Mulan from the Army" (director: Bu Wan Cang, star: Chen Yunzhang) 5) 1956 < Hua Mulan > (Henan Opera film) (director: Liu Guoquan, director: Liu Guoquan) (director: Yue Feng, star: Ling Bo) 1998 < Mulan > (Disney cartoon) 8) 2009 < Hua Mulan > (directed: Ma Chu-cheng, starring: Zhao Wei). Through the study of the eight Mulan films, it is found that with the change of historical and contemporary context, the story of Mulan in the film has undergone subtle changes in plot and character image. These changes are closely related to the social history and cultural context. This article mainly adopts the literature research method, the text analysis method and the comparative analysis method, according to the development of the film history to investigate and study the Mulan film text transformation craft characteristic, summarizes the Mulan movie development process in the inheritance systematically. The first chapter mainly studies Mulan Poems, Mei Lanfang's Mulan Drama and the related reports on Mulan in the early Republic of China. The second chapter, according to the time of film shooting, goes into the separate text analysis of eight Mulan films or the comparative analysis between the two films. The third chapter summarizes the influence of the traditional film and the concept of "nation" in the process of adaptation. On the basis of sorting out the changes of Mulan's image in the film, the author points out that the academic circles should not ignore the recognition and love of Mulan's own gender. This paper tries to focus on how the folk story of Mulan from the perspective of horizontal and vertical changes the expression of utterance in the film and becomes a "mirror" which reflects the national imagination and the discourses of the times. Make oneself in the context of global culture to maintain a long-term attraction and vitality.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J905
【参考文献】
相关期刊论文 前10条
1 刘宇清;王梦姣;;民族电影:从电影与国家的关系出发[J];电影艺术;2016年01期
2 崔迎春;;花木兰:过度情感想象中的母题偏移与角色错位[J];电影文学;2013年19期
3 柯倩婷;;性别·家国·战争:木兰传说的现代化与视觉化[J];华南师范大学学报(社会科学版);2012年03期
4 吴保和;;花木兰,一个中国文化符号的演进与传播——从木兰戏剧到木兰电影[J];上海大学学报(社会科学版);2011年01期
5 江玉琴;;解读2009年版电影《花木兰》的民族主义[J];电影文学;2010年10期
6 刘佳;;被观看的女英雄与“花木兰”的当代形象[J];艺术评论;2010年03期
7 赵彤;;改造“花木兰”——一个女性故事在版本流变中的衍化[J];当代电视;2010年03期
8 范倍;;花木兰的“变形记”[J];西部广播电视;2008年05期
9 丁亚平;;历史、国家认同与民族电影表现——近年主流电影的归根想象[J];当代电影;2008年01期
10 钟大丰;;中国民族电影产业的历史和现实[J];文艺研究;2006年07期
相关博士学位论文 前4条
1 张雪;木兰故事的文本演变与文化内涵[D];南开大学;2013年
2 金正秀;晚清女性传记与国族想象的形成研究[D];北京大学;2011年
3 郑健健;新华影业公司研究（1934-1942）[D];复旦大学;2011年
4 刘宇清;上海电影传统的分化与裂变（1945-1965）[D];上海大学;2007年
相关硕士学位论文 前1条
1 魏绍飞;木兰形象的文化变迁[D];四川大学;2006年
，本文编号：2124585
本文链接：https://www.wllwen.com/wenyilunwen/dianyingdianshilunwen/2124585.html
