非线性叙事电影的大众化转向（1990-2012）

发布时间：2018-08-04 19:58

【摘要】：1990年代前后,面对纯粹艺术电影和传统线性叙事的大众电影同时有所失落的困境,这个时期及之后的非线性叙事电影实践,逐步将其前辈们的艺术遗产从带有自恋意味的小众性和“形式即内容”的局限中解放出来,并将其与类型电影题材、元素、风格相连接,在更贴近时代生活和时代趣味的地方,对其进行活力再造和节奏更新,变之为能被大众所接收和欢迎的电影形态,并参与新塑了全球大众电影中的整体叙事格局。本文是我从谓之“非线性叙事”和“大众化”的角度,经由剖析非线性叙事电影的主流从艺术实验转向大众电影这一史实及二者关系,来回应1990年代之后非线性叙事电影的大众化与大众电影形态复杂化这个全球性的电影潮流转变中诸多问题的一次尝试。全文由序言、正文六章、结语等八部分组成。序言部分为本论题的展开勾勒了一个历史和理论背景,并提出了本研究所力图解决的几个主要问题。第一章为概论,分两节。第一节中提出两个问题：何谓非线性叙事电影?何谓大众化的非线性叙事?然后就这两个本文中的核心概念进行了相关探讨和界定。第二节对前人的相关研究成果做了攫要介绍和评价。第二章勾勒了非线性叙事电影及其大众化演进的历史轮廓,分两节。第一节论述非线性叙事电影主要作为艺术探索的时期(1916～1990年),经由讨论《一个国家的诞生》的胜利与《党同伐异》的失利、非线性叙事电影形式与内容的一体两面、罗伯特·阿尔特曼的失意与《美国往事》的一次尝试,概述了作为艺术探索时期的非线性叙事电影的前期、中期、后期的主要状态。第二节描述了非线性叙事电影在其大众化时期(1990年代及之后)的主要表现和变化,指出非线性叙事电影大众化中的两度转向：第一次从“个体艺术表达”转向“先锋式大众”,第二次从“先锋式大众”逐渐转向了“主流化大众”。在广泛探讨了非线性叙事在大众电影中的兴起之后,应该追问的或许是,这些大众化的非线性叙事电影到底是什么形态的?因此,第三章集中考察大众化的非线性叙事电影的叙事模型和范式问题,归纳了其中八个主要的叙事模型和范式：网状叙事、树状叙事、套层结构叙事、环状叙事、平行并置式叙事、不可靠叙事、重组式叙事、链接式叙事。在艰难地考察了大众化的非线性叙事电影的主要形态是怎样的之后,接下来面对的问题是：这些形态不一的“反常规”电影是如何能够被大众所接受和喜爱的?这里有两个问题,第一个问题是：这些“反常规”的电影是如何能被大众所接受的?换句话说,这些电影如何在其“创新”和观众“看得懂”之间找到平衡,以包容尽可能多的观众?因此,第四章集中考察了这个问题,并提供了如下答案：这些电影能被大众接受有赖于一系列审慎的妥协：其一是将影片中的故事世界确定化、客观化,并将其故事高度逻辑化；其二是影像呈现上的规律化与其它诸多补偿性措施,比如一部影片重复与改造先前的成功案例,或建立与重复同一个故事模型,或让不同影像规律性交替,或使用诸多标记提示等补偿技法。在第四章考察了这些创新性的电影如何保证能被观众“看得懂”之后,接下来的问题是：如何让观众“爱看”这种电影?因此,第五章集中探究大众化的非线性叙事电影是如何吸引观众的。本文认为,这有赖于这些电影惯用的三种策略：内容上采取去日常化策略,而专注于刺激感官的影像制造；形式上采取强化节奏策略和让观众对电影进行互动式体验的策略,以此来吸引观众对这种电影“持续关注”。接下来的第六章致力于考察非线性叙事电影的大众化运动与思潮的起因、影响及对此的反思。这一章首先探讨了其主要功绩和为电影带来的新格局和新可能,接着讨论了非线性叙事电影及其大众化的地域性周期。在对非线性叙事电影大众化这一电影运动和思潮给予应有的肯定之后,攫要回答了如下追问：在这个世界性的电影潮流性变化中,我们失去了什么?哪些非线性叙事电影的传统和资源被结构性地抛弃或压制了?结语部分从宏观角度总结回应了本论题中提出的主要问题,并就本论题中另外几个引发我兴趣的问题进行了攫要回应。
[Abstract]:Before and after 1990s, in the face of the lost plight of pure art film and traditional linear narrative, the nonlinear narrative film practice of this period and later gradually liberated its predecessors' artistic heritage from the limitations of the narcissistic niche and "form is content". The theme, the element, and the style are connected. In the place where the life of the times and the taste of the times are closer, it is reproduced and updated to the form of film that can be accepted and welcomed by the public, and is involved in the whole narrative pattern in the global mass movie. This is the article I say from "nonlinear narrative" and "popular". Angle, through the analysis of the history of the mainstream of non-linear narrative films from the art experiment to the mass film, and the relationship between the two, to respond to the many problems in the global film trend of the nonlinear narrative film after the 1990s. The full text is made up of the preface, the six chapter of the text, and the conclusion. The eight parts, such as language and so on. The preface outlines a historical and theoretical background, and puts forward several main problems to be solved in this study. The first chapter is an introduction and two sections. The first section puts forward two questions: what is the nonlinear narrative movie? What is the nonlinear narrative? And then the two articles In the second section, the second chapter outlines the historical outline of the nonlinear narrative film and its popular evolution, and divides it into two sections. The first section discusses the period (1916~1990 years) of the nonlinear narrative films mainly as the art of art. On "the birth of a country" and "the failure of the same party", the two sides of the form and content of the nonlinear narrative film, Robert Altman's failure and an attempt at the past of the United States, summarize the main state of the early, middle, and later stages of the nonlinear narrative films in the period of artistic exploration. The second section describes the non line. The main manifestations and changes of sexual narrative film in its popular period (1990s and after) point out that the second shift in the popularization of nonlinear narrative films: the first turn from "individual art expression" to "avant-garde mass", the second time from "avant-garde mass" to "mainstream public". After the rise of sexual narration in popular movies, it is possible to ask what forms are these popular nonlinear narrative films in the end. Therefore, the third chapter focuses on the narrative models and paradigms of the popular nonlinear narrative films, and sums up eight main narrative models and paradigms: reticulate narration and tree form. Narration, layer structure narrative, ring narrative, parallel juxtaposition narrative, unreliable narrative, reorganized narrative, link narrative. After a hard study of the main forms of popular nonlinear narrative films, the following question is how these "anti conventional" films can be connected by the masses. There are two questions. The first question is: how can these "anti conventional" films be accepted by the public? In other words, how do these films balance between "innovation" and the audience "understand" so as to contain as many viewers as possible? So the fourth chapter focuses on the problem and provides it. The following answer: these films can be accepted by the public on a series of deliberate compromises: one is to define the story world in the film, to objectification, and to highly logical its story; secondly, the regularization of the image and other compensatory measures, such as a film repeating and remaking previous successful cases, or In the fourth chapter, after examining how these innovative films can be "understood" by the audience, the next question is: how to let the audience "love" the movie? So the fifth chapter focuses on the research. The popular nonlinear narrative film is how to attract the audience. This article believes that it depends on the three strategies used in these films: the content is to take the daily strategy, and the focus on the sensory processing; in the form of a strategy to strengthen the rhythm strategy and the interactive experience of the audience to the movie, to attract the view. The following sixth chapters are devoted to the study of the cause, influence and reflection of the popular movement and trend of thought in nonlinear narrative films. This chapter first discusses its main achievements and new patterns and possibilities for the film, and then discusses the nonlinear narrative films and their popular regions. The sexual cycle. After giving due affirmation to the film movement and the trend of thought of the nonlinear narrative film, it is a grab to answer the following questions: what are we losing in this cosmopolitan movie trend? What are the traditions and resources of the nonlinear narrative films that have been structurally abandoned or suppressed? The concluding part from the macro This paper summarizes and responds to the main questions raised in this thesis, and makes a reply to several other interesting questions in this topic.
【学位授予单位】：南京大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905

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