可为与不可为：第一电影符号学理论辨析
发布时间：2018-11-15 08:29
【摘要】：第一电影符号学于20世纪60年代结构主义语言学逐渐在非语言学领域受到欢迎时产生,它在电影学领域运用了索绪尔结构主义语言学的原理,使电影界产生了一种新的理论——电影符号学,电影符号学以其科学化、精细化的分析方法,打破了经典电影理论的局限,使电影分析从此走上了科学化的道路,然而,因其理论是从语言学领域搬借而来,自然有生搬硬套和不符合电影特质等诸多缺陷。 本论文将对第一电影符号学的主要理论展开研究,这些理论包含克里斯蒂安·麦茨的“电影语言”观和“叙事段组合理论”、帕索里尼的“诗的电影”理论以及艾柯的“电影符码三分节”理论,这些理论代表着第一电影符号学的主要贡献,笔者相信对于它们的评述就是对整个第一电影符号学的评述。 在论文第一部分,笔者将引述并阐释这三人的理论。麦茨认为电影符码的分节并不存在,所以他将研究的重点放在电影句法层面的规则。如果说麦茨注重电影中的组合关系,那么帕索里尼就是聚合关系的探索者,他提出“诗的电影”的理论,认为导演需要突破传统的叙事中心主义,倡导具有强烈的个人主义风格的电影。而艾柯从和麦茨截然不同的方向进行探索,他在皮尔士符号三分法的基础上,提出了电影的十大代码,又由此为契机,将电影符码分为三个层次。 由于他们的理论存在着逻辑漏洞以及其它弱点,所以在论文的第二部分,笔者将对他们的理论进行分析,将其弱点进行剖析并汲取其有用之处。麦茨的叙事段组合理论从微观层面上存在着分类混乱、类别不全等问题,在宏观层面上存在着过于僵化的问题,但其对于经典电影的分析还是较为可行的。帕索里尼的“诗的电影”的观点固然难以实现,但却具有前瞻性。艾柯的“电影符号三分节”理论从理论本源上就值得怀疑,但是其对电影画面的分析有着不小的意义。“叙事段组合理论”和“电影符号三分节”具有很大的实用价值,所以在这部分的最后一节,笔者将以电影《教父》为例,用这两种理论来分析《教父》的叙事结构和符码意象。 在第三部分,本文将重点放在第一电影符号学如何在类型电影和作者电影中得到运用,它们之间结合起来,可以构成一个局部性的电影符号系统,这种局部性的电影符号系统可以作为这两类电影的原型来看待。笔者相信,这也是第一电影符号学可以重新焕发光芒之处。
[Abstract]:The first film semiotics came into being in the 1960s when structuralist linguistics became popular in the field of non-linguistics. It applied Saussure's principles of structuralist linguistics in the field of cinematology. The film industry has produced a new theory-film semiotics. Film semiotics, with its scientific and refined analytical methods, has broken the limitations of the classical film theory and made the film analysis go on the scientific road from now on. Because its theory is borrowed from the field of linguistics, there are many defects, such as copying mechanically and not conforming to the characteristics of films. This thesis will study the main theories of the first film semiotics, including Christian Metz's view of "film language" and "narrative paragraph combination theory". Pazorini's theory of "poetic film" and Eco's theory of "three sections of film code" represent the main contribution of the first film semiotics. The author believes that the comment on them is the comment on the whole first film semiotics. In the first part of the thesis, the author will quote and explain the three theories. Metz thought that the subdivision of movie code did not exist, so he focused his research on the rules of syntactic level. If Metz pays attention to the combinatorial relationship in the film, then Pacorini is the explorer of the convergent relationship. He puts forward the theory of "the film of poetry", and believes that the director needs to break through the traditional narrative centrism. Advocate a film with a strong individualistic style. On the basis of Peirce's three-point symbol method, Eco puts forward the ten codes of the film, and takes this as an opportunity to divide the movie code into three levels. In the second part of this paper, the author will analyze their theories, analyze their weaknesses and draw on their useful points. Metz's theory of narrative paragraph combination has the problems of classification confusion and incomplete classification at the micro level, and the problem of being too rigid on the macro level, but its analysis of classical films is still more feasible. Pacorini's "the Film of Poetry" is difficult to achieve, but it is forward-looking. Eco's theory of "three-section of film symbol" is doubtful from its theoretical origin, but its analysis of film picture is of great significance. The combination Theory of narrative paragraphs and the three Segment of Movie symbols are of great practical value, so in the last section of this part, the author will take the film Godfather as an example. The two theories are used to analyze the narrative structure and code image of Godfather. In the third part, this paper focuses on how the first film semiotics is applied in the genre film and the author film, and the combination of them can form a partial film symbol system. This kind of local film symbol system can be regarded as the prototype of these two kinds of films. The author believes that this is where the first film semiotics can shine again.
【学位授予单位】：山东大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905
本文编号：2332751
[Abstract]:The first film semiotics came into being in the 1960s when structuralist linguistics became popular in the field of non-linguistics. It applied Saussure's principles of structuralist linguistics in the field of cinematology. The film industry has produced a new theory-film semiotics. Film semiotics, with its scientific and refined analytical methods, has broken the limitations of the classical film theory and made the film analysis go on the scientific road from now on. Because its theory is borrowed from the field of linguistics, there are many defects, such as copying mechanically and not conforming to the characteristics of films. This thesis will study the main theories of the first film semiotics, including Christian Metz's view of "film language" and "narrative paragraph combination theory". Pazorini's theory of "poetic film" and Eco's theory of "three sections of film code" represent the main contribution of the first film semiotics. The author believes that the comment on them is the comment on the whole first film semiotics. In the first part of the thesis, the author will quote and explain the three theories. Metz thought that the subdivision of movie code did not exist, so he focused his research on the rules of syntactic level. If Metz pays attention to the combinatorial relationship in the film, then Pacorini is the explorer of the convergent relationship. He puts forward the theory of "the film of poetry", and believes that the director needs to break through the traditional narrative centrism. Advocate a film with a strong individualistic style. On the basis of Peirce's three-point symbol method, Eco puts forward the ten codes of the film, and takes this as an opportunity to divide the movie code into three levels. In the second part of this paper, the author will analyze their theories, analyze their weaknesses and draw on their useful points. Metz's theory of narrative paragraph combination has the problems of classification confusion and incomplete classification at the micro level, and the problem of being too rigid on the macro level, but its analysis of classical films is still more feasible. Pacorini's "the Film of Poetry" is difficult to achieve, but it is forward-looking. Eco's theory of "three-section of film symbol" is doubtful from its theoretical origin, but its analysis of film picture is of great significance. The combination Theory of narrative paragraphs and the three Segment of Movie symbols are of great practical value, so in the last section of this part, the author will take the film Godfather as an example. The two theories are used to analyze the narrative structure and code image of Godfather. In the third part, this paper focuses on how the first film semiotics is applied in the genre film and the author film, and the combination of them can form a partial film symbol system. This kind of local film symbol system can be regarded as the prototype of these two kinds of films. The author believes that this is where the first film semiotics can shine again.
【学位授予单位】：山东大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905
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