王全安导演艺术风格研究
发布时间：2018-09-02 09:48
【摘要】：王全安作为中国第六代导演中的一员，自1999年投身电影创作以来对中国电影的发展做出了极具探索性意义的贡献。他秉持着严谨的创作理念，将电影的艺术性与观赏性高度融合，完成了从最初的新锐个性、锋芒毕露到如今的大气浑厚、淡定超然的风格过渡，在第六代导演中独树一帜，正在成为中国艺术电影创作阵营中的领军人物。他所拍摄的艺术电影摒弃了国内艺术片惯有的生涩难懂的诟病，并且在面对海外观众时，很容易地被他们所理解和接受。2012年下半年《白鹿原》的上映以及不错的票房成绩更是让他一时间备受关注，王全安也实现了自身的转变和跨越，打破了长期以来票房低迷的创作瓶颈，，更是展现出了作为一名导演的历史责任感和担当。 本文的主要内容包括以下几个部分：首先，引言部分是对当前研究现状的归类以及行文思路的梳理，其后，整合了王全安至今创作的六部作品，分三个章节从其艺术风格的发展脉络、成因和具体表现三个方面着手，完整地完成对王全安导演艺术风格的探究，希望在一定程度上可以起到弥补对其艺术风格研究的缺失的作用。其中以具体的艺术风格表现为最核心的论述内容，在把握住“真实性”与“戏剧性”两大特点的基础之上，对主题内涵、剧本创作、视听呈现等多个层面进行了探讨。通过对其艺术风格的研究发现，在中国电影业急功近利、商业性泛滥的今天，王全安自始至终保持着难得的自省与冷静，因此，在论文的最后一部分，本文立足于王全安的艺术创作特点，反观当前中国电影发展存在的问题，尝试为今后电影创作总结一些启示。
[Abstract]:As a member of the sixth generation of Chinese directors, Wang Quanan has made an exploratory contribution to the development of Chinese films since he joined in the film creation in 1999. He holds the rigorous creative idea, highly merges the artistic and the ornamental nature of the film, has completed the transition from the original new sharp personality, the surpassing to the present atmosphere, calm and aloof style, and is unique in the sixth generation director. Is becoming a leading figure in the camp of Chinese art film creation. The art films he made have abandoned the familiar and unintelligible criticism of domestic art films, and when facing overseas audiences, It was easy for them to understand and accept it. The release of White Deer Plains in the second half of 2012 and his good box office results made him pay more attention for a while. Wang Quanan also realized his own transformation and leapfrogging. Breaking the bottleneck of long-term box-office depression, it also shows the historical responsibility and responsibility of a director. The main content of this paper includes the following several parts: first, the introduction part is the classification of the current research status and the sorting of the text, then, it integrates the six works that Wang Quanan has created so far. Divided into three chapters from the development of its artistic style, causes and specific performance of the three aspects, complete the complete exploration of Wang Quanan director's artistic style, Hope to a certain extent can play a role in making up for the lack of research on its artistic style. On the basis of grasping the two characteristics of "authenticity" and "drama", this paper discusses the connotation of the theme, the writing of the script, the audio-visual presentation and so on. Through the study of his artistic style, it is found that Wang Quanan has maintained a rare introspection and calm throughout the whole period of the Chinese film industry, which is characterized by eager success and instant profit and commercial flooding. Therefore, in the last part of the thesis, Based on the characteristics of Wang Quanan's artistic creation, this paper looks back at the problems existing in the development of Chinese films, and tries to sum up some inspirations for the future film creation.
【学位授予单位】：河北大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J911
本文编号：2218989
[Abstract]:As a member of the sixth generation of Chinese directors, Wang Quanan has made an exploratory contribution to the development of Chinese films since he joined in the film creation in 1999. He holds the rigorous creative idea, highly merges the artistic and the ornamental nature of the film, has completed the transition from the original new sharp personality, the surpassing to the present atmosphere, calm and aloof style, and is unique in the sixth generation director. Is becoming a leading figure in the camp of Chinese art film creation. The art films he made have abandoned the familiar and unintelligible criticism of domestic art films, and when facing overseas audiences, It was easy for them to understand and accept it. The release of White Deer Plains in the second half of 2012 and his good box office results made him pay more attention for a while. Wang Quanan also realized his own transformation and leapfrogging. Breaking the bottleneck of long-term box-office depression, it also shows the historical responsibility and responsibility of a director. The main content of this paper includes the following several parts: first, the introduction part is the classification of the current research status and the sorting of the text, then, it integrates the six works that Wang Quanan has created so far. Divided into three chapters from the development of its artistic style, causes and specific performance of the three aspects, complete the complete exploration of Wang Quanan director's artistic style, Hope to a certain extent can play a role in making up for the lack of research on its artistic style. On the basis of grasping the two characteristics of "authenticity" and "drama", this paper discusses the connotation of the theme, the writing of the script, the audio-visual presentation and so on. Through the study of his artistic style, it is found that Wang Quanan has maintained a rare introspection and calm throughout the whole period of the Chinese film industry, which is characterized by eager success and instant profit and commercial flooding. Therefore, in the last part of the thesis, Based on the characteristics of Wang Quanan's artistic creation, this paper looks back at the problems existing in the development of Chinese films, and tries to sum up some inspirations for the future film creation.
【学位授予单位】：河北大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J911
【参考文献】
相关期刊论文 前10条
1 黄式宪;《月蚀》──触发中国电影尖锐话题的新锐之作[J];北京电影学院学报;2000年02期
2 李彬;回归电影──观赏《月蚀》[J];北京电影学院学报;2000年02期
3 陈凯歌;秦国人——记张艺谋[J];当代电影;1985年04期
4 张华;;《图雅的婚事》:艺术片的突围[J];当代电影;2007年04期
5 陈晓云;;女性困境、两难选择与圆形叙事——对王全安电影的一种阐释[J];当代电影;2010年09期
6 皇甫宜川;;电影的一种方向——观王全安电影[J];当代电影;2010年09期
7 王全安;高山;;王全安:安静地面对电影本身[J];当代电影;2010年09期
8 万传法;;论“中国式戏剧性表述”在中国大片中的缺失与错置——以《夜宴》和《满城尽带黄金甲》为例[J];当代电影;2011年01期
9 程波;;核心冲突的有效叙事——论王全安电影的叙事策略[J];当代电影;2011年12期
10 田军;陈雪华;;王全安电影的悲剧美和现实美[J];电影文学;2007年17期
相关硕士学位论文 前2条
1 牛柯;王全安导演艺术研究[D];西北大学;2011年
2 孙蕊;王全安电影中的女性人物形象[D];西南交通大学;2010年
本文编号：2218989
本文链接：https://www.wllwen.com/wenyilunwen/dianyingdianshilunwen/2218989.html
