中国电影中时尚元素的美学审视

发布时间：2018-08-11 15:31

【摘要】：发轫于18世纪60年代的生产方式的深刻变革，不仅仅改变了生产关系，也让上层建筑随之焕然一新。中国的现代文明之路起步较晚，时至今日，对中国的大众而言，虽然在经济基础方面的一只脚已经迈入现代社会，但是与之相适应的政治民主、文化审美等上层建筑的另一只脚则显得有些拖沓。“卡”在这种尴尬的境地，一个民族对于现代性身份的深度焦虑作为整个民族的心理特征和时代精神越发明显地暴露在其文化艺术当中。本文截取了这种身份焦虑的一种——对时尚的追求，，选择其在一种艺术——电影中的表现，通过一个视角——美学，力求管中窥豹，从中国电影中运用的时尚元素的美学审视中，给正在对时尚元素趋之若鹜的中国时尚电影以学理意义上的警示和指导，同时力求获得中国现代化的一些启迪。文章前言部分介绍研究的缘起，通过电影《爱出色》中女主角对时尚的认识，指出时尚是社会人的本能和救赎。现代人对于时尚的追求和苛责则到达了无以复加的地步，这些现象在当今电影中有出色的表现。中国电影表现时尚尚处于简单模仿阶段，不可避免地存在一些问题，从而引出研究的重要性。主体部分按照“是什么”、“为什么”、“应该怎样”的叙事逻辑对中国电影运用时尚元素这一现象做美学探讨。在基本概念阐述清楚以后，按照先深入剖析再试图提出重新建构的原则的顺序发表个人主要观点。 “时尚”是全文的一个核心概念和基础概念，本文第一章从梳理时尚的发展史、研究史出发，在前人研究的基础上，界定中国电影中的时尚元素的概念，明确研究范围。在简要交代了中国电影中运用时尚元素的历史和现状后，从经济繁荣、政治民主带来的文化大发展以及当前文化的视觉转向的大背景出发，阐释当前中国电影中大量运用时尚元素的原因。文章第二章将采用精神分析、结构主义、文化批评等理论范式对当前中国电影中竭力营造的时尚神话进行全面剖析，分析时尚元素在中国电影中运用能同时获得观众、市场和主流话语肯定的叙事策略。在消费社会中，电影制作者和广告商通过大张旗鼓的造梦工程和神话叙事，使得电影观众在美轮美奂的“拟像世界”里获得身份确认和心灵慰藉，在润物无声地美好梦幻中实现对电影观众的“引诱”、“规训”和“建构”，不仅为电影制作者收回成本、为新片筹集资金和在竞争中脱颖而出增加筹码，也为广告商培养了无数潜在客户，为资本创造了广阔的市场。解构是为了建构，解构之后，必然需要反思，同时还要为了建构指明方向。文章的第三章就是在对中国电影中的时尚元素运用全面解构后的反思。本章分四个小节，依次指出中国电影运用时尚元素时，在对于电影叙事、电影审美、时尚的文化品性的认识、本土时尚文化的挖掘四个方面认识上的狭隘和不足，并分别对症下药，指出中国电影时尚元素运用应该遵循的原则。结语部分总结全篇，指出时尚元素在中国电影中的运用是中国电影主动接轨世界，谋求文化创新和电影视觉效果、叙事功能提升的手段，但是在运用时尚元素的过程中，应该批判时尚文化中对物的崇拜、对人的异化，希望中国电影的时尚文化发展中能够做到费孝通先生所倡导的“各美其美、美人之美、美美与共、天下大同”的文化自觉。
[Abstract]:The profound changes in the mode of production, which began in the 1860s, not only changed the relations of production, but also changed the superstructure. The road of modern civilization in China started relatively late. Today, for the Chinese people, although one foot in the economic foundation has entered the modern society, the political and civilian people have adapted to it. In this embarrassing situation, the deep anxiety of a nation about its modernity identity as the psychological characteristics of the whole nation and the spirit of the times is increasingly exposed in its culture and art.
This article intercepts one kind of identity Anxiety-The pursuit of fashion, chooses its performance in an art-film, tries to peep at the leopard through a visual angle-aesthetics, from the aesthetic examination of the fashion elements used in Chinese movies, and gives the Chinese fashion movies which are becoming more and more fashionable in the academic sense. Warning and guidance, at the same time, strive to get some enlightenment from China's modernization.
In the preface, the author introduces the origin of the study and points out that fashion is the instinct and salvation of the society through the heroine's understanding of fashion in the film "Love Excellence". The pursuit and harshness of fashion by modern people have reached an unprecedented level, and these phenomena are outstanding in today's films. Inevitably, there are some problems in the imitation stage, which leads to the importance of research.
According to the narrative logic of "what", "why" and "what should be", the main part makes an Aesthetic Discussion on the phenomenon that Chinese movies use fashionable elements. After explaining the basic concepts clearly, the author expresses his main views in the order of first in-depth analysis and then attempting to put forward the principle of reconstruction.
"Fashion" is one of the core concepts and basic concepts of the full text. The first chapter of this paper starts from combing the development history of fashion and studying history. On the basis of previous studies, it defines the concept of fashion elements in Chinese movies and defines the scope of research. Based on the background of the cultural development brought about by political democracy and the visual turn of current culture, this paper explains the reasons why fashion elements are widely used in Chinese movies.
In the second chapter, the author will use the theoretical paradigm of psychoanalysis, structuralism and cultural criticism to make a comprehensive analysis of the fashion myth in the current Chinese movies, and analyze the use of fashion elements in Chinese movies to obtain both audience, market and mainstream discourse affirmative narrative strategies. Through the fantasy project and the mythological narrative, Shang made the movie audience obtain the identity confirmation and the spiritual consolation in the magnificent "Imaginary World" and realized the "lure", "discipline" and "construction" to the movie audience in the silent and beautiful dream, not only for the film producers to recover costs, but also for the new film financing. And stand out in the competition to increase chips, but also for advertisers nurtured numerous potential customers, created a broad market for capital.
Deconstruction is to construct, after deconstruction, it is necessary to reflect, but also to construct a direction. The third chapter of the article is the use of a comprehensive deconstruction of the elements of fashion in Chinese movies after reflection. This chapter is divided into four sections, pointing out that the use of fashion elements in Chinese movies, in the film narrative, film aesthetics, fashion text. The understanding of chemicals and the excavation of local fashion culture are narrow and inadequate in four aspects. The paper also points out the principles that should be followed in the application of fashion elements in Chinese movies.
The conclusion part summarizes the whole article, pointing out that the application of fashion elements in Chinese movies is a means for Chinese movies to actively integrate with the world, seek cultural innovation and visual effects of movies, and enhance the narrative function. But in the process of using fashion elements, we should criticize the worship of things in fashion culture, alienate people, and hope the fashion of Chinese movies. In the development of culture, we can achieve the cultural consciousness of "each beauty has its own beauty, beauty, beauty and harmony, and the whole world is in harmony" advocated by Mr. Fei Xiaotong.
【学位授予单位】：聊城大学
【学位级别】：硕士
【学位授予年份】：2012
【分类号】：J905

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