许鞍华电影研究

发布时间：2018-08-13 15:46

【摘要】：作为香港新浪潮的领军人物，许鞍华在新浪潮时期对于电影语言形式上的求新让人印象深刻，随之她在香港乃至国际影坛崭露头角，受到认可和赞许。在此后的漫长创作中，许鞍华由形式的创新转向对内容的深入挖掘，并逐渐到达一种洗尽铅华、返璞归真的大师境界。许鞍华的作品中有被反复表现的恒定主题，对电影语言和叙事模式的使用有自己独特的风格，同时也将自己的人生体验和价值观尽数灌输于人物形象的塑造之中，因此，许鞍华是当之无愧的“电影作者”。本论文使用作者论和叙事学的研究方法，对许鞍华的创作做整体观照。论文具体内容如下：绪论部分概述了许鞍华的成长经历和教育背景，对其从事电影创作三十余载所取得的成就进行评述。同时还总结了许鞍华研究现状，并继而阐明本论文的核心任务和创新点。第一章为“电影的主题”。许鞍华作品基本围绕三种“意识”来设置主题：一、敏锐的政治意识。许鞍华对政治有敏锐的洞察性，前期作品中，她常常把人物命运与政治大背景相联系，对个体给予同情和人道主义关怀。中后期作品中，，则渐渐淡化宏大的政治叙事背景，侧重展现个人选择与个体的不同生活境况的关系。二、无根的漂泊意识。许鞍华电影中的漂泊意识主要体现在两方面：一个是海外人的漂泊意识，早期作品中尤其关注越南人的漂泊生活；另外一个方面则展现香港人在“九七”回归前后，缺乏安全感的精神和心灵漂泊状态。三、个体的身份寻找意识。主要体现在个体在寻找文化身份过程中的情感体验。许鞍华电影中的三大主题处于层层递进、步步深入的逻辑关系中。第二章为“电影中的女性形象”，许鞍华常把叙事主体锁定在女性身上。但她对于女性形象的塑造不是一成不变的，而是处于一个动态的演进过程中。本章分为两部分论述：许鞍华早期作品中，由于受男权社会主流文化的影响，塑造的女性始终处于“被窥视”的从属地位；而随着她创作理念的日臻成熟，在中后期作品中塑造了众多有自我意识的新女性形象。第三章为“电影语言”，主要从镜头语言、色彩和声音这几个方面观照许鞍华的作品，通过分析《投奔怒海》、《胡越的故事》、《女人四十》、《男人四十》、《天水围的日与夜》、《姨妈的后现代生活》等影片，归纳出她的影像语言风格。第四章为“电影的叙事结构”，运用叙事学理论并结合《男人四十》、《今夜星光灿烂》、《玉观音》、《天水围的夜与雾》等影片，指出她对两种叙事结构的钟爱——回环式套层结构和缀合式团块结构，从而在叙事模式上也形成了一定的风格。结语部分指出，许鞍华不仅仅是一位“电影作者”，还是一位多年来始终坚持自我表达的电影作者。经过多年历练之后，许鞍华用事实向我们证明了电影是可以在艺术性与商业性之间取得平衡的。她的创作模式为后来者提供了一条可借鉴的路。
[Abstract]:As a leading figure in the new wave in Hong Kong, Xu Anhua was impressed with the novelty of the film language in the new wave period. She was recognized and praised in Hong Kong and even in the international film circles. In the long creation after that, Xu Anhua turned from the innovation of form to the deep excavation of content, and gradually reached a new stage. Xu Anhua's works have a constant theme which is repeatedly expressed. He has his own unique style in the use of film language and narrative mode. At the same time, he also instills his own life experience and values into the characterization of the characters. Therefore, Xu Anhua is a worthy "film writer". "."
This thesis uses the methods of author's theory and narratology to study Xu Anhua's works as a whole.
The introduction summarizes Xu Anhua's growing experience and educational background, and comments on his achievements in film creation over 30 years. At the same time, it also summarizes Xu Anhua's research status, and then clarifies the core tasks and innovations of this paper.
The first chapter is "Theme of the Movie". Xu Anhua's works mainly focus on three kinds of "consciousness". First, he has a keen political consciousness. Xu Anhua has a keen insight into politics. In her early works, she often associates the fate of the characters with the political background, and gives sympathy and humanitarian care to the individuals. The wandering consciousness in Xu Anhua's films is mainly embodied in two aspects: one is the wandering consciousness of the overseas people, and the early works pay special attention to the wandering life of the Vietnamese people; the other is exhibited. Nowadays, Hong Kong people lack the sense of security and wandering state of mind before and after the return of 1997. Third, the sense of individual identity seeking is mainly embodied in the emotional experience of individual in the process of seeking cultural identity.
The second chapter is "the female image in the film", Xu Anhua often focuses on the narrative subject on women. But her portrayal of the female image is not invariable, but in a dynamic process of evolution. This chapter is divided into two parts: Xu Anhua's early works, because of the influence of the mainstream culture of the patriarchal society, portrayed. Women are always in the subordinate position of being peeped, and with the maturing of her creative ideas, many new female images with self-consciousness are created in her later works.
Chapter Three is "Movie Language", which mainly focuses on Xu Anhua's works from the aspects of camera language, color and sound. Through the analysis of films such as "To the Nu Hai", "Hu Yue's Story", "Women's Forty", "Men's Forty", "Tian Shui Wai's Day and Night", "Aunt's Postmodern Life", her image language style is summed up.
Chapter Four is "The Narrative Structure of the Movie". Using the narrative theory and combining with the movies such as "Men's Forty", "Starlight Tonight", "Yuguanyin", "Night and Fog at Tianshuiwei", she points out her love for the two narrative structures, namely, the loop-type nested structure and the affixed block structure, thus forming a certain style in the narrative mode.
The conclusion points out that Xu Anhua is not only a "film writer", but also a film writer who insists on self-expression for many years. After years of experience, Xu Anhua has proved to us that films can strike a balance between artistry and commercialization. Her creative model provides a way for later generations to borrow. The way to learn.
【学位授予单位】：山东艺术学院
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J905

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