王家卫电影的符号研究
发布时间：2018-12-07 12:31
【摘要】：法国电影大师让雷诺阿说过：“一个导演一生只拍一部影片”，这句话恰好的评价了王家卫执着于同一种母题符号创作的特点。1995年，王家卫曾在一次访问中说：“连续五部戏下来，发现自己一直在说的，，无非就是里面的一种拒绝，害怕被拒绝，以及被拒绝之后的反应，在选择记忆与逃避之间的反应。”①始终如一的主题反映使王家卫的电影有着极其鲜明的特点。也正因如此，王家卫的电影吸引着众多研究者的关注。 本文研究内容涉及香港城市文化，研究范围限定于王家卫1990年拍摄的《阿飞正传》、1994年拍摄的《重庆森林》、1997年拍摄的《春光乍泄》、2000年拍摄的《花样年华》以及2004拍摄年的《2046》等五部电影。 在香港特殊的历史发展背景下，王家卫的电影总是或明或暗地贯穿着一种无法消逝的漂泊感，并由此形成了其电影独特的母题符号。香港文化自身特有的消费符码，直接影响到王家卫电影中各种造型符号的使用。而香港特有的历史发展所带来的文化上的兼容并包在其电影多元音乐元素的使用上也得到充分体现。由此，本文的研究也就确定母题符号、造型符号以及音乐符号三个方向。 本文将运用皮尔斯的“三重关系符号理论”，以香港独特的城市文化为研究背景，注重王家卫电影文本的分析，解析符号在其电影母题、造型及音乐中的使用方式与特征的探究，挖掘符号在其电影文本中的作用和价值，展现王家卫电影的独特艺术魅力，充分认识和把握王家卫作为“作者电影”的艺术风格特征。
[Abstract]:French film master Jean Reynolds once said, "A director can only make one film in his whole life." this sentence just appraises Wang Jiawei's obsessiveness in the creation of the same motif. In 1995, Wang Jiawei once said in an interview: "after five consecutive plays, I find that what I have been saying is nothing more than a kind of rejection, fear of being rejected, and the reaction after being rejected." The reaction between choosing memory and evading. "1 consistent thematic reflection makes Wang Jiawei's film extremely distinctive. Because of this, Wang Jiawei's film attracted the attention of many researchers. This paper deals with the urban culture of Hong Kong. The scope of the research is limited to Wang Jiawei's "A Fei True Story" shot in 1990, "Chongqing Forest" in 1994, and "Spring Light and Flower" in 1997. In 2000, in the mood for Love, and in 2004, in the year of < 2046 > and other five films. Against the background of Hong Kong's special historical development, Wang Jiawei's films always run through an indelible sense of drift, and form the unique motif of his films. The unique consumption code of Hong Kong culture directly affects the use of various modeling symbols in Wang Jiawei's films. The cultural inclusion brought about by the historical development of Hong Kong is also fully reflected in the use of multiple musical elements in its films. Therefore, the study of this paper also determines the motif symbol, modeling symbol and music symbol three directions. This article will use Pierce's "triple relation symbol theory", take Hong Kong's unique city culture as the research background, will pay attention to Wang Jiawei movie text analysis, analyzes the symbol in its movie motif, This paper probes into the ways and features of use in modeling and music, excavates the role and value of symbols in the text of his films, reveals the unique artistic charm of Wang Jiawei's films, and fully understands and grasps the artistic style characteristics of Wang Jiawei as a "author's film".
【学位授予单位】：云南师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905
[Abstract]:French film master Jean Reynolds once said, "A director can only make one film in his whole life." this sentence just appraises Wang Jiawei's obsessiveness in the creation of the same motif. In 1995, Wang Jiawei once said in an interview: "after five consecutive plays, I find that what I have been saying is nothing more than a kind of rejection, fear of being rejected, and the reaction after being rejected." The reaction between choosing memory and evading. "1 consistent thematic reflection makes Wang Jiawei's film extremely distinctive. Because of this, Wang Jiawei's film attracted the attention of many researchers. This paper deals with the urban culture of Hong Kong. The scope of the research is limited to Wang Jiawei's "A Fei True Story" shot in 1990, "Chongqing Forest" in 1994, and "Spring Light and Flower" in 1997. In 2000, in the mood for Love, and in 2004, in the year of < 2046 > and other five films. Against the background of Hong Kong's special historical development, Wang Jiawei's films always run through an indelible sense of drift, and form the unique motif of his films. The unique consumption code of Hong Kong culture directly affects the use of various modeling symbols in Wang Jiawei's films. The cultural inclusion brought about by the historical development of Hong Kong is also fully reflected in the use of multiple musical elements in its films. Therefore, the study of this paper also determines the motif symbol, modeling symbol and music symbol three directions. This article will use Pierce's "triple relation symbol theory", take Hong Kong's unique city culture as the research background, will pay attention to Wang Jiawei movie text analysis, analyzes the symbol in its movie motif, This paper probes into the ways and features of use in modeling and music, excavates the role and value of symbols in the text of his films, reveals the unique artistic charm of Wang Jiawei's films, and fully understands and grasps the artistic style characteristics of Wang Jiawei as a "author's film".
【学位授予单位】：云南师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905
【参考文献】
相关期刊论文 前10条
1 王海洲;后现代主义与王家卫电影[J];北京电影学院学报;2001年03期
2 赵娜;;作者导演——王家卫[J];当代小说(下);2011年02期
3 王美岭;;由王家卫电影看香港都市文化[J];电影文学;2004年07期
4 王莹;;记忆与流行的符号——谈王家卫电影台词的风格[J];电影文学;2008年01期
5 周琪;;从王家卫的电影看后现代主义[J];电影文学;2008年05期
6 孙文宪;作为结构形式的母题分析——语言批评方法论之二[J];华中师范大学学报(人文社会科学版);2001年06期
7 卢晓云;王家卫电影艺术解读[J];南京广播电视大学学报;2005年01期
8 姚军;解读另类导演王家卫的影像风格[J];南京理工大学学报(社会科学版);2005年03期
9 黄苏瑾;;王家卫电影语言探讨[J];新疆艺术学院学报;2006年02期
10 严绍t
本文编号：2367210
本文链接：https://www.wllwen.com/wenyilunwen/dianyingdianshilunwen/2367210.html
