跨文化传播视角下中韩电影底层叙事空间比较研究

发布时间：2018-08-14 18:19

【摘要】：20世纪90年代以来,中韩两国出现了不少聚焦社会边缘、展现底层生态的电影。影片中的现代城市与传统乡镇,既作为物理生活空间,基于不同文化背景与地理特色,彰显出风格各异的空间姿态;又作为精神意义空间,于复杂的社会伦理结构中,呈现出暧昧性与多义性。生与死、孤独与丧失、理想与现实、记忆与永恒等主题,含蓄地匿于导演所营造的电影叙事空间中。本文从跨文化传播视角,结合两国文化背景的相似性与差异性,分析了 20世纪90年代以来的中韩电影中,主要底层叙事空间类型及典型空间意象的叙事功能,在此基础上探讨了底层叙事空间的建构策略,并对底层叙事空间隐喻的区别及其内在经济、政治、社会等原因进行了阐释。第一章对中韩电影底层叙事空间类型及空间意象寓意进行了跨文化解读。三个小节分别剖析了自然景观空间中自然风景和人文景观的人格化特征、家宅居住空间中个人独处空间和家庭互动空间的生活流表述、社会公共空间中公共交往场所和动态交通工具的象征性涵义。第二章对中韩电影底层叙事空间建构的写实化表达策略进行了阐释,从三个方面展开论述:第一,选取生活日常片段,并经由细节实现空间切换,塑造韵律化的底层生活空间形态;第二,通过底层群像人物的方言空间和身体修辞,实现人物与底层空间的积极互动;第三,利用时空关系与声乐空间,打造多重化视听叙事的画内外空间。第三章对中韩电影底层叙事空间隐喻的差异性展开了探讨。第一节从个人与自我关系的角度,分析了由于在地感有所区别,底层个体的自我记忆空间,呈现方式与表达实质的不同之处。中国电影多是将抽象的内在意识空间进行外化与剥离,让虚无不可见的意识空间与作为意识主体的个体脱离开来,转化成为实际可见的、独立显现的空间意象,所表达的实质是个体对传统性的背离和回归。韩国电影则叙述了底层个体创伤的身体空间,以呈现个体所遭受的规训惩戒和对权力权势的忤逆,所表达的实质是现代性对个体的束缚和个体的抗争。第二节从个人与他人关系的角度,揭示了在不同的具体生活场域之下,中韩电影中底层个体与他人的矛盾空间,关注焦点与想象性解决方式均有所差别。中国电影中,“缺席”的人情义理是矛盾冲突的焦点,“在场”的情义传统则为矛盾冲突提供了有效解决途径;韩国电影则侧重表现底层小人物在看似日常化的生活中,“丧失”的命运带来的悲痛与阴翳,以及在失去之后彼此之间“重新获得”的互助与成长。第三节从个人与社会关系的角度,剖析了因经济制度、政治变动、民族创伤等具体国情差异,中韩两国电影底层叙事空间对生命异化的迥异表述。中国电影表现为一种想象的现实空间,即用“历史化”的态度重构现代生存空间;韩国电影则表现为对现实空间的一种想象,即用“悲剧化”的笔触书写民族内省空间。中韩电影底层叙事空间展现了两国底层平民的生存状态,提炼了这个庞大而繁杂的阶层的共性,同时也真实记录了导演对时代的诉求和对社会的期望,体现了一种弘扬民族精神、传播民族文化、书写民族命运与国家寓言的积极力量。从电影文本的角度来说,底层叙事空间的文化阐释的相通性与跨文化的情感共鸣性,也印证了中韩两国电影的跨地域传播与交流的可能性与必要性。
[Abstract]:Since the 1990s, many films have appeared in China and South Korea, focusing on the social fringe and showing the bottom ecology. The modern cities and traditional towns in the films, as physical living space, based on different cultural backgrounds and geographical characteristics, show different styles of space gestures; and as spiritual significance space, in complex social ethical knots. The themes of life and death, loneliness and loss, ideal and reality, memory and eternity are implicitly hidden in the film narrative space created by the director. The types of narrative space at the bottom and the narrative functions of typical spatial images are discussed. On this basis, the construction strategies of the narrative space at the bottom are discussed, and the differences between the metaphors of the narrative space at the bottom and their inherent economic, political and social reasons are explained. Three sections respectively analyze the personalized characteristics of natural scenery and humanistic landscape in natural landscape space, the expression of life flow in individual solitude space and family interaction space in residential space, the symbolic meanings of public places of communication and dynamic means of transportation in social public space. Chapter two is the bottom narrative of Chinese and Korean movies. The realistic expression strategy of space construction is expounded from three aspects: firstly, choosing daily life fragments and realizing space switching through details to shape the rhythmic form of the underlying living space; secondly, realizing the active interaction between the characters and the underlying space through the dialectal space and body rhetoric of the underlying group characters; The third chapter explores the differences of metaphors in the underlying narrative space of Chinese and Korean films. The first section analyzes the underlying individual's self-memory space, presentation mode and expression reality due to the difference between the individual and the self-relationship. Chinese movies mostly externalize and strip away the abstract inner space of consciousness so that the invisible space of consciousness is separated from the individual as the subject of consciousness and transformed into a real visible and independent space image. The essence of the expression is the deviation and return of the individual to the tradition. In order to show the discipline and disobedience to power and power, the body space of individual trauma at the bottom is described. The essence of the expression is the restraint of modernity to the individual and the struggle against the individual. Section two reveals the relationship between the individual and others under different specific life fields, the bottom individuals and others in Chinese and Korean films. In Chinese movies, the humanistic principle of "absence" is the focus of contradictions, while the tradition of "presence" provides an effective way to solve contradictions. In Korean movies, the emphasis is on the expression of the "loss" of the lower-class minors in their seemingly daily lives. In the third section, from the angle of personal and social relations, the author analyzes the different expressions of life alienation in the bottom narrative space of Chinese and Korean films due to the differences of specific national conditions such as economic system, political changes and national trauma. Now it is a kind of imaginary realistic space, that is, reconstructing the modern living space with the attitude of "historicization"; Korean film is a kind of imagination of the real space, that is, writing the national introspective space with the style of "tragedy". The commonness of the mixed strata also truly records the director's appeal to the times and the expectations of the society, reflecting a positive force to promote national spirit, spread national culture, and write national destiny and national fables. Sex also confirms the possibility and necessity of cross regional communication and communication between Chinese and Korean films.
【学位授予单位】：华中师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：G206;J905

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