中国实验电影研究

发布时间：2018-04-22 19:20

本文选题：实验电影 + 中国特色　；参考：《河北大学》2010年硕士论文

【摘要】： 本文从实验电影概念出发,对实验电影概念的明确、我国实验电影的状况、诉求内容、艺术特色、和传播方式、发展策略等几部分内容对我国实验电影的创作、艺术特色、代表人物作品、教育、传播方式以及未来发展的走向做出了总结和探讨。实验电影作为20世纪30年代诞生以来一直作为一种重要的电影类型发展着,但自从20世纪60年代之后,随着电影商业化进程不断加快以及艺术电影、独立电影、电影短片和Video实验影像等多种影像艺术形式的出现,实验电影的概念变得越来越模糊,很多人将不同类型的影像艺术概念与实验电影混为一谈,也有人认为实验电影早已在20世纪60年代以后就已经从世界电影史上消失。然而事实上,至今为止不但全球仍有很多电影艺术家仍保持着对实验电影艺术的高度热情,并且也通过自身对电影表意方式和技巧上的探索和实验为今天的主流商业电影、广告、MTV音乐录影带带来了巨大的影响。90年代以后,数字影像技术的飞跃以及制作成本的不断降低,带来了实验电影全球范围内的又一次创作热潮,更多有电影理想的人有机会将自己的想法付诸实践,而由老一辈实验电影人已经创造出的良好文化环境也让实验电影有了更好的发展空间。我国的实验电影艺术在20世纪90年代末期才开始起步,然而由于世界实验电影已有70多年历史,让我国的实验电影在发展之初就有无限多的经验可以借鉴,这样的环境使得中国的实验电影艺术水平甚至实验电影的传播方式以及理论水平都得以在短时间内迅速发展,并迅速与世界实验电影水平拉近距离。本文就是对我国实验电影自产生到今日的发展状况一次深入、完整的研究。本文一共分为六个部分:第一部分介绍和明确了实验电影的概念。对实验电影与先锋电影、艺术电影、地下电影和video影像艺术、新媒体艺术等容易与实验电影混淆的概念进行了明确的定义和区分。同时总结了世界实验电影发展的状况,并通过对其历史的阐述和主要作品、代表人物的列举分析,进一步明确了实验电影的概念范畴和艺术特色,以及实验电影艺术对电影艺术和电影工业的影响和意义。第二部分文章着力分析了我国实验电影产生的背景、发展的现状、以及富有代表性的作品和人物。第三部分主要分析了我国实验电影在诉求内容上所表现出的特点。第四部分则阐述了我国实验电影在继承和发扬30年代实验电影艺术表现手法的基础上做出的进一步探索及其特有的艺术特色。第五部分总结了实验电影在我国的主要传播方式,以及实验电影的教育。第六部分是对过去的总结和对未来的展望,通过对过往我国实验电影艺术所表现出的优势和硬伤,分析了我国实验电影对主流商业电影的影响以及其所面临的巨大困境,探讨了实验电影可试行的发展策略。本文的创新之处在于文章运用电影史的研究方法对在我国电影理论界倍受冷落的“中国实验电影艺术”进行了比较系统的阐述和剖析。文中参考了很多国外实验电影历史文献的相关著作和中国先锋派电影理论家的学术著作,并对大量我国著名的实验电影人及其代表作品进行的分析和归类,对从未被探讨过的我国新生代实验影像艺术家、和具有影响力的实验影像艺术展以及他们在实验电影艺术作品上表现出的新特点进行了详细的阐述和分析,并通过与国外相关领域发展模式的对比,对我国实验电影的传播方式和教育模式进行了有意义的探讨。
[Abstract]:From the concept of experimental film, the definition of the experimental film, the situation of our experimental films, the content of the appeal, the artistic features, the mode of communication, the development strategy and so on, have made a summary and Discussion on the creation of the experimental films, the artistic features, the representative works, the education, the mode of communication and the trend of the future development in China.
As an important film type since the birth of 1930s, experimental films have developed as an important type of film, but since 1960s, the concept of experimental films becomes more and more with the emergence of many kinds of image art forms such as art films, independent films, film short films and Video experimental images. The more blurred, many people confuse different types of image art concepts with experimental films, and some believe that experimental films have already disappeared from the world film history since 1960s. In fact, there are still many film artists still maintaining a great enthusiasm for the art of experimental films so far. And through their own exploration and experiment on film ideographic methods and techniques, the mainstream commercial films, advertising, MTV music videos have brought great influence on the.90 era, the leap of digital image technology and the decreasing of production cost, which brings about another creation upsurge in the global scope of experimental electric shadow. The ideal people of the film have the opportunity to put their ideas into practice, and the good cultural environment created by the older experimental film makers has also made the experimental films have a better space for development.
The experimental film art of our country started in the late 1990s. However, because of the 70 years of history of the world experimental film, there is a lot of experience in the beginning of the development of the experimental films in China. This environment makes the art level of the Chinese experimental film even the mode of transmission of the experimental film and the theoretical water. Ping is able to develop rapidly in a short time and quickly close to the level of the world's experimental film. This article is a thorough and complete study of the development of experimental films from China to today. This article is divided into six parts: the first part introduces and defines the concept of real film. Art films, underground films and video image art, new media art and other concepts that are easy to confuse with experimental films are clearly defined and distinguished. At the same time, the development of experimental films in the world is summarized, and the concept model of experimental films is further clarified through the exposition of its history and the analysis of the main works and representatives of the characters. The characteristics of domain and art, and the influence and significance of the experimental film art on the film art and the film industry. The second part focuses on the analysis of the background, the status quo of the development of our experimental films, and the representative works and characters. The third part mainly analyzes the characteristics of the experimental films in our country. The fourth part expounds the further exploration and special artistic features of experimental films in China on the basis of inheriting and developing the art of experimental film art in 30s. The fifth part summarizes the main mode of transmission of experimental films in our country and the teaching of experimental films. The sixth part is a summary of the past and the failure of the film. In view of the advantages and hard injuries, the influence of the experimental film on the mainstream commercial films and the great difficulties faced by the experimental films in China are analyzed, and the development strategies of the experimental films are also discussed.
The innovation of this article lies in the systematic exposition and analysis of the "Chinese Experimental Film Art" which has been neglected in the film theory of China by using the method of film history. The analysis and classification of the famous experimental film people and their representative works are discussed and analyzed in detail in the new generation experimental image artists, the influential experimental image art exhibitions and their new features in the art works of the experimental films, which have never been discussed. The comparison of the development models in the field has made a meaningful discussion on the mode of transmission and educational mode of experimental films in China.

【学位授予单位】：河北大学
【学位级别】：硕士
【学位授予年份】：2010
【分类号】：J905

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