西方灾难电影对中国灾难电影的启发

发布时间：2019-05-18 03:19

【摘要】：2012年，这个以玛雅文明预言引发的“末日危机年”，灾难电影可谓是人们最关注的类型电影之一，在所谓的灾难“即将来临”之时，灾难电影在“末日危机年”的表现及人们对2012年灾难电影的看法值得探究。在“末日危机年”不攻自破之后，人们又该如何审视灾难。而且本文首次对灾难电影这一类型进行了宏观意义上两大统设的划分，并且进一步的对灾难电影类型的次类型进行了详细的划分整理，希望从中找出对灾难电影新的理解和中国灾难电影发展的突破口。作为中外电影比较研究，本文首先分析了类型电影的定义和概念，明确了类型电影中灾难电影的特征和定义，并且经行了宏观的划分以及针对次类型进行了细致的分类，西方灾难电影主要以美国好莱坞为代表的多部灾难电影的美学特征和叙事特点进行了深入的分析，，以找出西方灾难电影的独特性和灾难电影受欢迎的原因。再次对中国灾难电影的历史和发展现状做出了分析，总结了特性和不足。最后从多方面做出比较从而找出我国灾难电影未来的发展策略。中国有着丰富的创作资源，但却没有很好的利用自己的历史和文化，我们学习好莱坞那些成功的灾难电影，无论是艺术层面还是商业层面都有值得我们学习的地方。灾难电影绝不仅仅是依靠大量的资金和技术的投入而成功的，只有在关注社会现实的基础上合理进行想象才能创作出优秀的作品。从以上得出的结论中透析中国灾难电影的发展局限，思考应该如何发展中国特色的灾难电影，延伸至目前整个中国电影产业的现状，试探讨中国灾难电影怎样才能跻身世界类型电影的舞台。
[Abstract]:In 2012, this "year of apocalypse crisis" triggered by Mayan civilization prophecy, disaster film is one of the types of films that people pay most attention to, at a time when the so-called disaster is "coming." The performance of disaster film in the year of apocalypse and people's view of disaster film in 2012 are worth exploring. After the year of the apocalypse crisis, how should people look at disaster. Moreover, for the first time, this paper classifies the type of disaster film in the macro sense, and further divides and arranges the subtypes of disaster film type in detail. I hope to find out a new understanding of disaster film and a breakthrough in the development of disaster film in China. As a comparative study of Chinese and foreign films, this paper first analyzes the definition and concept of type films, clarifies the characteristics and definitions of disaster films in type films, and carries on the macro division and carries on the detailed classification according to the subtypes. In order to find out the uniqueness of western disaster films and the reasons why disaster films are popular, the aesthetic and narrative characteristics of many disaster films represented by Hollywood in the United States are deeply analyzed in order to find out the uniqueness of western disaster films and the reasons why disaster films are popular. Thirdly, the history and development status of Chinese disaster films are analyzed, and the characteristics and shortcomings are summarized. Finally, it makes a comparison from many aspects to find out the future development strategy of disaster film in our country. China is rich in creative resources, but it does not make good use of its own history and culture. We learn Hollywood disaster movies, both artistic and commercial, which are worth learning from. Disaster film is not only successful by relying on a lot of capital and technology investment, but also can create excellent works on the basis of reasonable imagination on the basis of paying attention to social reality. From the above conclusions, this paper analyzes the development limitations of Chinese disaster films, and thinks about how to develop disaster films with Chinese characteristics and extend to the present situation of the whole Chinese film industry. Try to explore how Chinese disaster films can become the stage of world-type films.
【学位授予单位】：重庆大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

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