1980年代以来华语电影中的旗袍文化研究
发布时间：2018-09-10 13:31
【摘要】：1980年代以后的华语电影,最为视觉化的表现便是女性服饰的变化,旗袍代表了一种阶层的变化,女性主体身份的变化和女性话语权的转变,进而传达出女性自我认知和自我意识的觉悟。纵观当下华语电影研究,国内主要的电影研究渐渐忽视了服饰的表意作用和隐性符号内涵,其理论作品在研究服饰时仅仅是评价服饰是否符合电影中的历史背景以及其制造成本或款式的变化。不同于好莱坞电影机制,华语电影在注重娱乐化的同时更应该知道学习西方的电影分工机制,重视道具、化妆、服装与饰物的细节化处理,做到商业片定格在每一帧画面都无懈可击的视觉呈现。国外则在此方面做工完善,近于完美,但是缺少文化内涵,仍旧停留在女性视觉消费的理念中。本文将综合运动符号学、女性主义批评、叙事学等多种理论知识,对1980年代以来华语电影的旗袍文化进行探讨。
[Abstract]:After the 1980s, the most visual expression of the Chinese films was the change of women's dress. The cheongsam represented the change of a class, the change of the female subject's identity and the change of the female's right to speak. Then it conveys the consciousness of female self-cognition and self-consciousness. Throughout the current study of Chinese films, the main domestic film studies have gradually neglected the role of clothing ideographic meaning and the connotation of hidden symbols. His theoretical works in the study of clothing is only to evaluate whether the dress conforms to the historical background of the film and the change of its manufacturing cost or style. Different from the Hollywood film mechanism, Chinese movies should pay more attention to entertainment, and should also know how to learn from the Western film division mechanism and pay attention to the detailed handling of props, makeup, clothing and accessories. To achieve commercial film freeze in each frame of the screen are impeccable visual presentation. Foreign countries work in this area perfect, near perfect, but lack of cultural connotation, still stay in the concept of female visual consumption. This paper discusses the culture of cheongsam in Chinese films since 1980's by synthesizing the theoretical knowledge of sports semiotics, feminist criticism, narratology and so on.
【学位授予单位】：南京师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905
本文编号：2234584
[Abstract]:After the 1980s, the most visual expression of the Chinese films was the change of women's dress. The cheongsam represented the change of a class, the change of the female subject's identity and the change of the female's right to speak. Then it conveys the consciousness of female self-cognition and self-consciousness. Throughout the current study of Chinese films, the main domestic film studies have gradually neglected the role of clothing ideographic meaning and the connotation of hidden symbols. His theoretical works in the study of clothing is only to evaluate whether the dress conforms to the historical background of the film and the change of its manufacturing cost or style. Different from the Hollywood film mechanism, Chinese movies should pay more attention to entertainment, and should also know how to learn from the Western film division mechanism and pay attention to the detailed handling of props, makeup, clothing and accessories. To achieve commercial film freeze in each frame of the screen are impeccable visual presentation. Foreign countries work in this area perfect, near perfect, but lack of cultural connotation, still stay in the concept of female visual consumption. This paper discusses the culture of cheongsam in Chinese films since 1980's by synthesizing the theoretical knowledge of sports semiotics, feminist criticism, narratology and so on.
【学位授予单位】：南京师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905
【参考文献】
相关期刊论文 前10条
1 彭红;李彦昆;;菲林中的霓裳游行——探讨张叔平的服饰美学观[J];电影评介;2006年12期
2 苏晓东;;服饰文化的角逐——简析《满城尽带黄金甲》中的服饰元素运用[J];电影评介;2007年11期
3 李川;;角色的雕琢——关于电影服饰对人物形象塑造问题的探究[J];电影评介;2007年24期
4 王博;石亮;;关于电影服装服饰的探讨[J];电影评介;2008年07期
5 王列;程妍妍;;华美、狞厉与单纯的较量——《夜宴》服饰鉴赏[J];电影评介;2010年06期
6 危怡;;旖旎华裳为谁裁——略论旗袍在当代中国电影中的再现与表现[J];电影评介;2011年09期
7 王珊珊;;电影文化与服装设计的互为效应[J];电影评介;2011年15期
8 王丽君;;被动的艺术 服务的艺术——香港造型师奚仲文谈电影美术设计[J];电影艺术;2010年04期
9 车卫东;唐怡;滕雪梅;;解读影视作品中的服装服饰[J];当代电视;2011年05期
10 唐勇;;从女性意识角度看旗袍的兴衰[J];华南师范大学学报(社会科学版);2007年02期
，本文编号：2234584
本文链接：https://www.wllwen.com/wenyilunwen/dianyingdianshilunwen/2234584.html
