浪荡子：法国新浪潮电影的现代主义再读解

发布时间：2018-08-18 13:07

【摘要】：法国新浪潮不仅是电影艺术自诞生以来最杰出的成果之一,也是现代主义文艺作品的重要组成。新浪潮电影运动出现在二十世纪五十年代末的法国青年文化的浪潮中,法国青年导演将镜头对向了“当下的年轻人”。因此,新浪潮电影可以看作是战后青年的自画像,他们将理想化的自我形象投射到银幕上,这个形象与现代主义文艺中的“浪荡子”形象吻合。十九世纪法国诗人波德莱尔在现代性的视野下,挖掘了“浪荡子”的独特价值。他认为浪荡子是现代性的代言人,是现代生活的观察家。本雅明又进一步从现代性、现代主义的角度上,丰富了浪荡子的文化意涵。“浪荡子”形象经波德莱尔、本雅明的重新诠释和塑造后,成为现代主义文艺创作中的一个要素,同时也是现代主义文艺研究的一个切入点。在风格各异的新浪潮导演的作品中,我们总能看见离经叛道的青年的身影,而他们身上的浪荡精神正是与波德莱尔、本雅明笔下的浪荡子一脉相承,“浪荡子”为我们从现代主义的角度再读解新浪潮电影提供了新的可能。本文共分为四章。第一章论述了法国新浪潮电影诞生的历史语境,指出了新浪潮电影与现代主义的内在关联。其次,从电影叙事的角度出发,进一步分析了新浪潮电影的现代主义特征。第二章梳理了“浪荡子”作为现代主义符号的起源和内涵,并试图阐明浪荡子对现代生活的凝视与新浪潮电影摄影机对现实的“观看”方式之间的一致性。第三章通过具体分析新浪潮电影作品中的人物,指出新浪潮导演是如何在银幕上塑造出浪荡子形象,以及阐明银幕浪荡子背后的现代主义内涵。第四章从新浪潮电影培育出的两位明星入手,指出新浪潮明星让娜·莫罗和让·保罗·贝尔蒙多身上的明星气质体现出了浪荡风格和浪荡精神,莫罗和贝尔蒙多是浪荡子形象的银幕化身。从“现代主义浪荡子”入手,不仅使我们进一步了解新浪潮电影作为现代主义艺术的美学特征,也使我们理解新浪潮电影的现代主义文化内涵和其背后常常被忽略的时代精神。
[Abstract]:French New Wave is not only one of the most outstanding achievements of film art since its birth, but also an important component of modernist literary works. The new wave film movement appeared in the French youth culture tide in the late 1950s, the French youth director pointed the lens to "the present youth". Therefore, the new wave film can be seen as a self-portrait of postwar youth, who project their idealized self-image onto the screen, which coincides with the image of "the loose son" in modernist literature and art. Baudelaire, a French poet in the 19 th century, excavated the unique value of the "loose son" from the perspective of modernity. He thinks that the loose son is the spokesman of modernity and the observer of modern life. Benjamin further enriched the cultural connotation of the loose son from the perspective of modernity and modernism. After Baudelaire and Benjamin's reinterpretation and moulding, the image of "loose son" has become an essential factor in modernist literary and artistic creation, and also a breakthrough point in the study of modernist literature and art. In the works of the New Wave directors of different styles, we can always see the figure of the rebellious young people, and their wandering spirit is in the same vein with Baudelaire and Benjamin's prodigal son. The Storm provides a new possibility for us to reread the new wave movies from the perspective of modernism. This paper is divided into four chapters. The first chapter discusses the historical context of the birth of the French New Wave Film and points out the inherent relationship between the New Wave Film and Modernism. Secondly, from the angle of film narration, it further analyzes the modernism characteristic of the new wave film. The second chapter combs the origin and connotation of the "Lengzi" as a symbol of modernism, and tries to clarify the consistency between his gaze on modern life and the "viewing" way of the New Wave Movie camera. The third chapter analyzes the characters in the new wave film works, points out how the new wave director creates the image of the loose child on the screen, and clarifies the modernism connotation behind the film wave. The fourth chapter starts with the two stars cultivated by the New Wave Film, and points out that the star temperament of the New Wave stars Jean Namoro and Jean Paul Belmondo embodies the style and spirit of the wave. Morrow and Belmondo are the screen incarnations of the loveless. Starting with "modernism", it not only makes us understand the aesthetic characteristics of the new wave film as a modernist art, but also makes us understand the modernism cultural connotation of the new wave film and the spirit of the times which is often neglected behind it.
【学位授予单位】：中国艺术研究院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J905

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