李安电影的自我认同研究
发布时间：2018-11-10 23:59
【摘要】：李安是一位享誉世界的华人导演,凭借作品的广泛影响在国际电影界拥有很高的知名度,迄今为止共执导12部电影长片。影片主题复杂、风格各异,既有良好的票房表现,又有深层的艺术思考,实现了艺术与商业的统一,表现出李安驾驭各类电影题材的超人才华。作为一位移居美国的华人导演,他游离于中西文化之间,在两者的碰撞与冲突中谨慎地自我调适。其作品流露出强烈的身份意识,表现了人性的理性与欲望,致力于身份检视与自我认同的探讨。迄今为止,理论界对李安电影的研究多集中于影片内容的美学风格和文化认同的分析,鲜少从自我认同角度展开研究。笔者在当代审美文化视域下,以相关理论为指导,从自我认同角度对李安作品中的身份意识进行了理论诠释。 第一章,随着哲学、心理学和文化研究等学科中自我认同相关理论的发展,自我认同有其现代具体内涵,在当代审美文化中,既作为认同危机的问题而存在,又发展为一种新的理论研究视角与方法；电影作为表现自我认同的文化形式,强烈表现并影响着现代人的自我认同。李安个人及其电影内容都表现出对身份意识的探讨,对当代电影极具借鉴意义。 第二章,导演李安特殊的生活与工作经历让他拥有多重身份。伴随混杂身份带来的自我迷失,他经历了家庭与学校教育中的文化冲击与个性压抑、执导电影后探索与创新两个阶段的发展,逐步自我觉醒,于电影中实现自我认同,并不断借助电影自我塑造。电影是李安个人意愿的最大伸张,是其潜意识自由驰骋的梦境,更是其自我认同的主要路径。 第三章,李安电影中的影像人物具有非主流弱势群体的多元而混杂的身份,面对着共性的自我认同危机。按照上映时间,影片先后从家庭伦理、国家话语和自然环境三个方面表现人性的自我,逐步深入地进行自我认同模拟,但李安电影对认同危机的解决并没有提出具体的方法,而是引发观众思考并使其反思自身的自我认同。 第四章,李安电影从融通中西的文化表现、多元语言运用以及坚持传统叙事等方面,对现代人自我认同具有重要的引导意义。同时我们也要看到电影表现自我认同的悖论：引导自我认同与导致认同危机并存。这源自于电影艺术与商业双重属性的两面性。现代人探索自我认知与实现自我认同要求电影必须将艺术与商业恰当地结合于一身。 最后,后现代社会的视觉文化转向成为不可否认的事实,这一转向带来人类自我认同方式的革命性变化。其中电影对现代自我认同方式变化有着潜移默化的影响,其内部认同机制还需要认同理论的进一步研究。反观我国电影现状,在对自我认同的表现与探讨方面,国产电影应对李安电影加以合理借鉴,理性反思自身问题,寻求自身的发展之道。
[Abstract]:Ang Lee is a world-renowned Chinese director who has a high profile in the international film industry because of the wide influence of his works. So far, he has directed 12 feature films. The film has complex themes and different styles. It has both good box office performance and deep artistic thinking, realizes the unity of art and commerce, and shows Lee an's superhuman talent of controlling all kinds of movie subjects. As a Chinese director who immigrated to the United States, he drifted between Chinese and Western cultures and adjusted himself carefully in the collision and conflict between the two cultures. His works reveal a strong sense of identity, expressing the rationality and desire of human nature, and devoting himself to the discussion of identity examination and self-identity. Up to now, the research on Ang Lee's films has focused on the analysis of aesthetic style and cultural identity of the film content, and rarely from the perspective of self-identity. From the perspective of contemporary aesthetic culture and under the guidance of relevant theories, the author interprets the identity consciousness in Ang Lee's works from the angle of self-identity. The first chapter, with the development of the theory of self-identity in philosophy, psychology and cultural studies, self-identity has its modern concrete connotation. In contemporary aesthetic culture, it exists as a problem of identity crisis. It has developed into a new perspective and method of theoretical research. As a cultural form of self-identity, film strongly expresses and influences the self-identity of modern people. Ang Lee and his films both show a discussion of identity consciousness, which is of great significance to contemporary movies. The second chapter, director Ang Lee's special life and work experience makes him have many identities. With the self-loss brought by mixed identity, he experienced the cultural shock and personality depression in family and school education, the development of two stages of exploration and innovation after directing the film, gradually self-awakening, and realized self-identity in the film. And constantly with the help of film self-molding. Film is the greatest extension of Ang Lee's personal will, the dream of his subconscious freedom, and the main path of his self-identity. In the third chapter, the image characters in Ang Lee's films have multiple and mixed identities of non-mainstream vulnerable groups, and face the common self-identity crisis. According to the release time, the film successively expresses the humanity ego from the family ethics, the national discourse and the natural environment three aspects, carries on the self-identity simulation step by step, but Ang Lee's film has not proposed the concrete method to solve the identity crisis. Instead, it causes the audience to think and reflect on their own self-identity. In the fourth chapter, Ang Lee's films have important guiding significance for modern people's self-identity from the aspects of integrating Chinese and Western cultural performance, multilingual application and adherence to traditional narration. At the same time, we should also see the paradox of self-identity: leading to self-identity and leading to identity crisis. This comes from the dual nature of film art and commerce. Modern man's exploration of self-cognition and realization of self-identity require that film must combine art and commerce properly. Finally, the turn of visual culture in postmodern society has become an undeniable fact, which has brought about a revolutionary change in the way of human self-identity. The film has a subtle influence on the change of modern self-identity, and its internal identification mechanism needs further study of identity theory. Looking back at the present situation of Chinese films, in the aspect of self-identity performance and discussion, domestic films should use Lee's films reasonably for reference, rationally reflect on their own problems, and seek their own way of development.
【学位授予单位】：扬州大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905
本文编号：2323939
[Abstract]:Ang Lee is a world-renowned Chinese director who has a high profile in the international film industry because of the wide influence of his works. So far, he has directed 12 feature films. The film has complex themes and different styles. It has both good box office performance and deep artistic thinking, realizes the unity of art and commerce, and shows Lee an's superhuman talent of controlling all kinds of movie subjects. As a Chinese director who immigrated to the United States, he drifted between Chinese and Western cultures and adjusted himself carefully in the collision and conflict between the two cultures. His works reveal a strong sense of identity, expressing the rationality and desire of human nature, and devoting himself to the discussion of identity examination and self-identity. Up to now, the research on Ang Lee's films has focused on the analysis of aesthetic style and cultural identity of the film content, and rarely from the perspective of self-identity. From the perspective of contemporary aesthetic culture and under the guidance of relevant theories, the author interprets the identity consciousness in Ang Lee's works from the angle of self-identity. The first chapter, with the development of the theory of self-identity in philosophy, psychology and cultural studies, self-identity has its modern concrete connotation. In contemporary aesthetic culture, it exists as a problem of identity crisis. It has developed into a new perspective and method of theoretical research. As a cultural form of self-identity, film strongly expresses and influences the self-identity of modern people. Ang Lee and his films both show a discussion of identity consciousness, which is of great significance to contemporary movies. The second chapter, director Ang Lee's special life and work experience makes him have many identities. With the self-loss brought by mixed identity, he experienced the cultural shock and personality depression in family and school education, the development of two stages of exploration and innovation after directing the film, gradually self-awakening, and realized self-identity in the film. And constantly with the help of film self-molding. Film is the greatest extension of Ang Lee's personal will, the dream of his subconscious freedom, and the main path of his self-identity. In the third chapter, the image characters in Ang Lee's films have multiple and mixed identities of non-mainstream vulnerable groups, and face the common self-identity crisis. According to the release time, the film successively expresses the humanity ego from the family ethics, the national discourse and the natural environment three aspects, carries on the self-identity simulation step by step, but Ang Lee's film has not proposed the concrete method to solve the identity crisis. Instead, it causes the audience to think and reflect on their own self-identity. In the fourth chapter, Ang Lee's films have important guiding significance for modern people's self-identity from the aspects of integrating Chinese and Western cultural performance, multilingual application and adherence to traditional narration. At the same time, we should also see the paradox of self-identity: leading to self-identity and leading to identity crisis. This comes from the dual nature of film art and commerce. Modern man's exploration of self-cognition and realization of self-identity require that film must combine art and commerce properly. Finally, the turn of visual culture in postmodern society has become an undeniable fact, which has brought about a revolutionary change in the way of human self-identity. The film has a subtle influence on the change of modern self-identity, and its internal identification mechanism needs further study of identity theory. Looking back at the present situation of Chinese films, in the aspect of self-identity performance and discussion, domestic films should use Lee's films reasonably for reference, rationally reflect on their own problems, and seek their own way of development.
【学位授予单位】：扬州大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905
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