杜琪峰黑色电影审美特色研究

发布时间：2018-07-16 16:50

【摘要】：“黑色电影”首先是由批评家们命名,并广泛应用于学术文章的写作之后,电影制作人才开始谈及它。这一术语,对于大多数人而言,意味着20世纪四五十年代某些好莱坞电影类型、风格或流行的特征,是侦探与蛇蝎美人、黑帮火拼、血腥枪战的笼统概述。标准的历史叙述称,“黑色电影”源于美国,是硬派小说和德国表现主义综合的结果。法国影评人博尔德和肖默东进一步深化,对电影的审美分析从视听元素转移到主题内核,开始注重解析电影“黑色性”的分析,认为“黑色电影”制造了一种心理与道德的失控感,是一种对资本主义价值观的揭露。美国人将这种他者视域下的自我逐渐内化,于越战时期,“黑色电影”正式成为一种好莱坞类型片。在中国版图南部沿海地区的香港,东西方文化的碰撞和较为宽松的创作环境,使得香港地区影坛更快接纳了这种反传统的类型影片。受西方文化、岭南文化和中原文化复合影响的香港观众,更乐意看到对于人性两面性的批判式表达,和来自社会底层、边缘化人物的呐喊。正是由于有了庞大的观影群体,新浪潮之后的香港导演开始了对于警匪、黑帮片井喷式的创作,而黑帮片也由此成为香港电影的代名词之一。在众多创作团队中,杜琪峰和他的银河映像是不可或缺的一支力量。杜琪峰导演对于黑色电影独特的美学表达,也被批评家和影迷们津津乐道。在电影节竞赛中,杜琪峰的黑帮电影无论在国内还是国际都取得了巨大的成功。对于他的黑帮电影,很多人只是泛泛而谈,鲜有人对其思想内容、影像风格进行深入研究。纵观杜琪峰黑帮电影,内容深刻真实、形式唯美灵活,叙事新颖独特、人物塑造细腻。他的杜氏黑色叙事更是对后来的香港警匪片、悬疑片产生极大影响。阐释杜琪峰电影的黑色性,并将这种黑色性置于整个香港黑帮电影的时代和社会背景下,通过对其社会基础、本土化进程的全方位的考察,指出其黑色性是黑帮电影产生的社会基础、中国传统江湖文化中的侠义精神、导演个人叙事表达风格等三种力量相互融合的结果。以往对于杜琪峰的电影研究,有的只是涉及到杜氏电影中的“暴力”、“宿命”等主题;有的只是纵向比较杜琪峰和吴宇森的黑帮电影异同;有的虽然意识到《无间道》系列明显地受到杜琪峰黑帮电影的影响,关注到了刘伟强等导演对杜琪峰黑帮电影的学习和借鉴,但较少有人针对这一点展开论述,进行横向比较,以此来凸显杜琪峰对于香港影坛独特而深远的影响力。在表达内容上,杜琪峰不断重复的对于男性角色的魔幻主义塑造和性别歌颂为其电影打下不可忽视的标签,在这种性别倾向下,女性角色的单一表达成为不可忽视的研究对象,而这种明显的倾向在黑帮题材和警匪类型片中或多或少被当作理所当然的存在。本文力求有所突破,深入研究杜琪峰黑色电影,以点带面,通过对杜琪峰电影黑色世界的展现、影像风格的分析及个人创作阶段的比较等三个方面来突出其电影的“黑色性”主题,从而论证杜氏电影的风格个性和独特价值,为杜琪峰电影的研究提供一个新的视点。
[Abstract]:"Black film" was first named by critics and widely used in academic writing, and film makers began to talk about it. This term, for most people, means that some of the Hollywood movie types, styles, or popular features of the 40s and 50s twentieth Century are detectives and snake scorpions, gangsters and bloody guns. The historical narrative of the war, the historical narrative of the standard, that "black film" originated in the United States, is the result of the combination of hard fiction and German Expressionism. The French critics Bold and Xiao Modong further deepened the aesthetic analysis of the film from audio-visual elements to the theme core, and began to pay attention to the analysis of the "black" analysis of the film, and thought that " "Black film" creates a psychological and moral sense of control, a revelation of the values of capitalism. Americans gradually internalize the self in the other's vision. During the Yu Yue war, the "black film" formally became a Hollywood type. In the southern coastal area of China, the eastern and Western cultures collided in Hongkong and in the southern coastal area of China. The more relaxed creative environment has made the movie circles in Hongkong more quickly accepted this kind of anti traditional film. The Hongkong audience, influenced by the western culture, south of the Five Ridges culture and the Central Plains culture, is more willing to see the critical expression of the dual nature of human nature, and the cry from the bottom of the society and the marginalized characters. After the new wave, the Hongkong director began to create a blowout style for the bandit and the gangster, and the gangster became one of the pronouns of the Hongkong film. Among the many creative teams, Johnny To and his galaxy are an indispensable force. Director Johnny To's unique aesthetic expression for black films is also known. In the film festival, Johnny To's gangster films have made great success both at home and abroad. For his gangster movies, many people just talk about it. Few people have made a thorough study of their ideological content and image style. The content of the Johnny To gangster movies is profound and true. Style is beautiful and flexible, the narrative is unique and the characters are exquisite. His Duchenne black narration has a great influence on the later Hongkong bandit film and suspense film. It explains the black character of Johnny To's film, and puts this black character in the era and social scene of the whole Hongkong gangster film, through its social foundation, the whole process of localization. The study of azimuth points out that the black character is the social foundation of the black gang film, the chivalrous spirit in the Chinese traditional culture of the river and the lake, and the result of the fusion of the three forces of the director's personal narrative expression style. It is only a longitudinal comparison of the similarities and differences between Johnny To and Johnwoo's black gang films; while some are aware that the series of "no" is obviously influenced by Johnny To's black gang films, it pays attention to Andrew Lau and other directors to learn and draw lessons from the Johnny To black gang films, but few people discuss this point and compare them horizontally to highlight Du. Qi Feng's unique and profound influence on the Hongkong film world. In the expression, Johnny To repeatedly repeats the unnegligible label for the magic shaping of the male characters and the sex praise for the film. Under this sex tendency, the single expression of the female role is a research object that can not be ignored, and this obvious tendency is obvious. In the gangster and the bandit genre, it is more or less being taken for granted. This article strives to make a breakthrough in the study of Johnny To's black film, with a point of view, to highlight the "black" of the film through three aspects, such as the appearance of the black world of Johnny To, the analysis of the image style and the comparison of the stage of personal creation. The theme thus demonstrates the style, personality and unique value of Du's films, and provides a new perspective for the study of Johnny To's films.
【学位授予单位】：长安大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J901

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