由《西游》三部曲看无厘头发展
发布时间：2019-05-30 01:37
【摘要】：香港在1986年，就放映了卢米埃尔兄弟的《工厂大门》、《火车进站时》、《水浇园丁》等影片。2年后，美国的爱迪生公司派出了摄影师到香港，，拍摄了包括《香港总督府》、《香港街景》等表现香港民土风情的纪录片。之后，香港人开始尝试自己拍摄电影。在20世纪70年代，香港电影走向世界的莫非李小龙的硬功夫电影。在香港，曾有诸多曾经帮助香港电影走向世纪的世界级大师，香港发达的电影工业，为其培养了技艺超群的电影工作者，这其中就包括那些技艺精湛的在荧幕上灵动表现电影人物的演员。而最具带表性的可以说是，90年代的“双周一成”，时至今日，他们依然在发挥着余热。这其中本主要研究“双周”中的周星驰。作为一个演而优则导的电影工作者，他给香港喜剧电影带来了新的风格，即无厘头。 关于“无厘头”的解释目前最多的是：没有由来，无目的，无由来，无逻辑，让人难以理解的意思。因为周星驰喜剧电影表现方式和技巧与“无厘头”的深层含义有相似之处，所以人们以“无厘头”来形容他的风格，周星驰的电影被定义为“无厘头”电影，周星驰也因此成为“无厘头”的代言人。 无厘头最为火爆的年代在90年代初期，《赌神》、《唐伯虎点秋香》、《鹿鼎记》、《算死草》等电影当年都获得了超高的票房。但是在97之后，香港电影整体似乎是失去了方向，找不到自己的文化以及艺术定位。 但是周星驰，依然还在坚守，且似乎越做越好了。单就今年的《西游降魔篇》来看。高居上半年国产电影票房之首，就足见周星驰的号召力。更不用提之前的《功夫》的誉满全球和《长江七号》的热映。我们依然能看到“无厘头”中周星驰的创新，以及其电影的包容性和娱乐性，且市场依然在接受着“无厘头”。 因此说，无厘头的生命力还是存在的，尤其是在经历了十几年的发展变化之后，它完全可以在影片中通过与其他艺术形式的有机排列组合使电影获得勃勃生机。我们应该对无厘头予以重视和保护，对于电影发展的艺术形式而言它的存在将是有利无害的。
[Abstract]:In 1986, Hong Kong showed films such as "Factory Gate", "when the Train entered the Station" and "watered gardener" by the Lumiel brothers. Two years later, the Edison Company of the United States sent photographers to Hong Kong to shoot, including the Government House of Hong Kong. Hong Kong Street View and other documentaries showing the local customs of Hong Kong. After that, the people of Hong Kong began to try to make their own movies. In the 1970 s, Hong Kong films went to the world without Li Xiaolong's hard kung fu films. In Hong Kong, there have been many world-class masters who have helped Hong Kong films enter the century, and the developed film industry in Hong Kong has trained skilled filmmakers for them. This includes skilled actors who vividly represent film characters on the screen. And the most apparent, the 90 s "biweekly 10%," today, they are still playing waste heat. Among them, this paper mainly studies Zhou Xingchi in Biweekly. As an excellent and directed filmmaker, he has brought a new style to Hong Kong comedy films, that is, nonsense. At present, the explanation of "Wulitou" is that there is no reason, no purpose, no reason, no logic, which is difficult to understand. Because Zhou Xingchi's comedy film has similarities in expression and skill with the deep meaning of "Wulitou", people describe his style as "Wulitou". Zhou Xingchi's film is defined as "Wulitou" film. As a result, Zhou Xingchi became the spokesman for Wulitou. Wulitou's most popular era in the early 1990s, "God of gamblers", "Tang Bohu Qiuxiang", "The Deer and the Cauldron", "calculate the dead grass" and other films all won super high box office in that year. But after 97, Hong Kong films as a whole seemed to have lost their direction and could not find their own cultural and artistic positioning. But Zhou Xingchi, still sticking to it, seems to be doing better and better. Just look at this year's "Journey to the West". High in the first half of the box office of domestic films, enough to see the appeal of Zhou Xingchi. Not to mention the previous reputation of Kung Fu and the popularity of the Yangtze River 7. We can still see Zhou Xingchi's innovation in Wulitou, as well as the inclusiveness and entertainment of his films, and the market is still accepting Wulitou. Therefore, the vitality of Wulitou still exists, especially after more than ten years of development and change, it can make the film alive through organic arrangement and combination with other forms of art. We should attach importance to and protect Wulitou, and its existence will be beneficial and harmless for the artistic form of film development.
【学位授予单位】：河北大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905
本文编号：2488400
[Abstract]:In 1986, Hong Kong showed films such as "Factory Gate", "when the Train entered the Station" and "watered gardener" by the Lumiel brothers. Two years later, the Edison Company of the United States sent photographers to Hong Kong to shoot, including the Government House of Hong Kong. Hong Kong Street View and other documentaries showing the local customs of Hong Kong. After that, the people of Hong Kong began to try to make their own movies. In the 1970 s, Hong Kong films went to the world without Li Xiaolong's hard kung fu films. In Hong Kong, there have been many world-class masters who have helped Hong Kong films enter the century, and the developed film industry in Hong Kong has trained skilled filmmakers for them. This includes skilled actors who vividly represent film characters on the screen. And the most apparent, the 90 s "biweekly 10%," today, they are still playing waste heat. Among them, this paper mainly studies Zhou Xingchi in Biweekly. As an excellent and directed filmmaker, he has brought a new style to Hong Kong comedy films, that is, nonsense. At present, the explanation of "Wulitou" is that there is no reason, no purpose, no reason, no logic, which is difficult to understand. Because Zhou Xingchi's comedy film has similarities in expression and skill with the deep meaning of "Wulitou", people describe his style as "Wulitou". Zhou Xingchi's film is defined as "Wulitou" film. As a result, Zhou Xingchi became the spokesman for Wulitou. Wulitou's most popular era in the early 1990s, "God of gamblers", "Tang Bohu Qiuxiang", "The Deer and the Cauldron", "calculate the dead grass" and other films all won super high box office in that year. But after 97, Hong Kong films as a whole seemed to have lost their direction and could not find their own cultural and artistic positioning. But Zhou Xingchi, still sticking to it, seems to be doing better and better. Just look at this year's "Journey to the West". High in the first half of the box office of domestic films, enough to see the appeal of Zhou Xingchi. Not to mention the previous reputation of Kung Fu and the popularity of the Yangtze River 7. We can still see Zhou Xingchi's innovation in Wulitou, as well as the inclusiveness and entertainment of his films, and the market is still accepting Wulitou. Therefore, the vitality of Wulitou still exists, especially after more than ten years of development and change, it can make the film alive through organic arrangement and combination with other forms of art. We should attach importance to and protect Wulitou, and its existence will be beneficial and harmless for the artistic form of film development.
【学位授予单位】：河北大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905
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本文编号：2488400
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