中国西部电影审美文化嬗变研究（1984-2014）

发布时间：2018-02-10 17:40

本文关键词： 中国西部电影审美文化本体变革类型探索多元碰撞　出处：《西北大学》2015年博士论文　论文类型：学位论文

【摘要】：“西部”无论是对于西方还是东方都包孕了一种值得玩味的“想像”与“重构”,西部的荒蛮与神秘、质朴与瑰丽、亲和力和冲击力同时构成了西部民族文化影像记忆的一道复沓而重叠的风景。审美文化视野中的西部电影嬗变研究以其电影标本和电影文化发展史的综合分析和比较研究为切入点,力图展现中国西部电影历经三十余年时代风云诡谲,不同历史阶段中国西部电影审美文化呈现出不同的样态,从而还原到历史文化现场,考量基于时间链条中西部电影理论空间话语建构的特征和要素,凸显电影文本跨文化研究的理论价值和文化学意义,从而开掘出富有活力的学术领地,并提出未来中国西部电影发展的诸多前瞻性问题。本课题的研究侧重于对文化形态“微观层次”的考察,着重对花样纷呈、支离破碎的具体文化表象的体验,从而在对文化具像的“深描”(thick discription)中揭示出研究题材本身的宏大性。换言之,本课题不是单纯对于中国西部电影史的梳理和建构,而是对西部电影三十余年作品的文本进行细致的读解,并勾连起纷繁而芜杂的文化表象,以及一切由电影艺术所衍生出来的文化现象,如电影插曲、主题歌、配乐、歌谣、流行音乐、服装、人物、空间造型、道具等都将被纳入研究的宏阔视野之中。本研究广泛借用文化人类学、文化诗学、美学、语义学、史学等研究手段,寻怿三十余年来中国西部电影审美文化的嬗变轨迹,概括其审美文化流向,建立中国西部电影审美文化演变的宏观理论框架,考察三阶段的分期依据、创作规律、嬗变动因及特征等。第一阶段：中国西部电影审美嬗变的经典阶段(1984—1989)。该时期经历了理论上的命名、创作上的实践、美学本体的探索、类型化的尝试,形成了中国西部电影为世人瞩目的艺术品牌和美学风格,极大地影响了90年代后中国西部电影的类型建构和话语体系。在审美文化发展上总体表现为：农耕文化的价值取向和艺术趣味、现实主义创作方法与原则、新影像叙事的美学追求。经典时期的西部电影在美术造型、音乐和音响、摄影美学等方面突出地表现出了电影本体意识的自觉,催生出了一系列深具艺术魅力和美学深度的电影作品。这一时期的电影导演、摄影师、美术师、编剧、造型师身处一个激情火热的年代,喷薄而出的艺术才情在时代的巨浪中逶迤而去,并创造出了无愧于那个时代的电影和艺术,在电影艺术本体的探索中摸索前行,奠定了中国电影艺术与美学的整体格局与走向。第二阶段：中国西部电影审美文化嬗变的转折时期(1990—1999)。该时期的中国西部电影导演纷纷北上,寻找电影革新的出路。90年代的中国西部电影受到市场经济和政治话语的挤压,伴随着文学轰动效应的消解和启蒙理性的坍塌,创作者们开始自觉追随时代的步伐,或作茧自缚、画地为牢；或急流勇退、走向世俗,社会文化的裂变促使电影人开始重新思索电影的出路。这一时期的西部电影创作开始逐步向类型化方向拓展：出现了西部主旋律、西部人文电影、西部武侠片、西部魔幻片、西部少数民族电影等类型。中国电影也出现症候性的电影创作倾向：主旋律和重大历史题材创作的热潮,娱乐电影作为一种电影意识而被自觉的重视,电影的类型意识开始深化。整个90年代的中国西部电影创作经历了启蒙精神的离散、现实主义精神的放逐、多元价值的混乱与骚动等思想的震颤,在审美文化发展上主要体现为：文化之困境和突围之挣扎,审美形态的不断探索,类型化电影的初步尝试。第三阶段：中国西部电影审美文化嬗变的发展时期(2000—2014)。随着技术理性的膨胀,反启蒙的宗教价值开始复兴,同时伴生着消费的拜物教,工具理性一跃成为消费社会中的新宠。在商品为主宰的社会中,艺术生产面临着全面市场化和商业化的趋势,文化的商品属性日益凸显,影视产品作为传统的大众媒介走在文化消费的最前端并引领着社会消费和时尚风潮,推动了消费主义在全社会的兴盛与蔓延。在消费浪潮的席卷下,中国电影面临着艺术与商业的共生与分离、本土与外来的共赢与博弈,中国西部电影也面临着一次更为深刻的转型和分化。这一时期的西部电影创作从审美文化发展上主要表现为：多元化的价值取向、审美叙事风格的多样化、类型探索的各种可能性、泛喜剧和商业元素的放大、多元语境下影像语言的嬗变等。面对复杂多变的电影创作生态环境,中国西部电影如何才能创造出与我们这个时代相匹配的伟大作品?中国电影如何与我们所遭遇的这个时代相称,讲述中国正在走向世界的故事,以及在世界之中的中国故事?除了需要对西部影视文化进行全面资源整合,进一步健全西部电影的产业链,拓宽市场渠道和发行渠道,充分利用新媒体等方式占领文化高地,更重要的是要重估中国经典西部电影的价值,传承和坚守其一以贯之的“西部精神”根坹和“现实主义”关怀,在全球化与西部大开发的语境之下,在当前“一路一带”的时代大潮中,重新开启一种中国西部电影与文化的叙事动力,以及中国电影和世界电影对话的能力与可能。
[Abstract]:"Western" whether for the West or East holds a worth pondering "imagination" and "Reconstruction", in the wild and mysterious, simple and beautiful, affinity and impact of the western culture also constitute a memory image repetition and overlapping scenery. On the view of aesthetic evolution of western movies the culture in a comprehensive analysis of the film samples and film culture in the history of development and comparative study as the breakthrough point, trying to show China western film after more than thirty years of age the volatility, the different historical stages China western film aesthetic culture shows a different kind of state, to the scene to restore historical and cultural features and elements, considering the time chain construction western film theory based on the significance of discourse space, highlighting the movie text of cross-cultural studies, theoretical value and culture, so as to dig a vibrant academic territory, and The number of prospective future China western film development. The research focuses on investigation of the cultural form of "micro level", focuses on the intricate pattern, the specific cultural representation reduced to fragments of the cultural experience, which like "deepdescription" (thick discription) revealed great research subject itself in other words, this issue is not only to organize and construct Chinese western film history, but the text of the western film thirty years works detailed reading, and hook up numerous and miscellaneous cultural phenomenon, and all the movie art derived from the cultural phenomenon, such as film songs, theme song, music, songs, pop music, costumes, characters, space form, props will be included in the research perspective. This study borrows extensively from cultural anthropology, cultural poetics, aesthetics, semantics, history Study on the means of science, for more than thirty years evolution of Yi China western film aesthetic culture, summarizes the aesthetic culture to establish the theoretical framework of macro China western film aesthetic culture evolution, examines three stages according to the law of creation, evolution, motivation and characteristics. The first stage: the stage of the classic Western film aesthetic transmutation China (1984 - 1989). The period naming theory, creative practice, explore the Aesthetic Ontology, try to type, the formation of Chinese western film world attention art brand and aesthetic style, greatly influence the type of construction and discourse system China western movies in general show after 90s. The development of aesthetic culture is: farming culture value orientation and artistic taste, realistic creation methods and principles, the new image narrative aesthetic pursuit of western films in the classic period. Art, music and sound, photographic aesthetics highlighted movie noumenon consciousness, spawned a series of deep artistic charm and aesthetic depth of films. During this period, the film director, photographer, artist, writer, stylist is in a fiery passion in gushing out the artistic talent in the era of the wave winding away, and create a worthy era of art and film, groping in the exploration of film art itself in the front row, laid the China film art and aesthetics of the overall pattern and go to. The second stage: the turning period China western film aesthetic culture evolution (1990 - 1999). During this period, the western film director Chinese have for the Chinese,.90's search for western film movie innovation way squeezed the market economy and political discourse, accompanied by literary sensation Digestion and Enlightenment to collapse, the authors began to consciously follow the pace of the times, or in a cocoon around oneself, or prison; jiliuyongtui, secularization of social culture, promote the film began to rethink the fission film way out. And gradually expand to the type of direction during this period of western film creation: appeared in western main melody, humanities Western movie, Western martial arts films, Western fantasy film, the western minority film types. Chinese movies have appeared symptomatic movie creation tendency: theme and major historical theme creation upsurge, entertainment film as an awareness of being conscious of the importance of film type consciousness began to deepen. Chinese the Western movie creation 90s experienced a discrete initiation spirit, the realistic spirit of exile, multi value chaos and commotion of thought such as tremor, in the aesthetic culture Show as follows: struggling Cultural Dilemma and breakthrough, constantly explore the aesthetic form, try the type film. The third stage: the development period China western film aesthetic culture evolution (2000 - 2014). With the expansion of technology and rationality, anti enlightenment value religious revival, also associated with consumption fetishism, instrumental rationality has become the new darling of the consumer society. In the commodity dominated society, art production is facing a comprehensive market and business trend, the commodity property of culture has become increasingly prominent, video products as traditional mass media go to guide social consumption and fashion and in front of the cultural consumption, promote the prosperity of the whole society and consumerism in the spread. In the wave of consumption, Chinese film facing the paragenesis and separation of art and commerce, local and foreign and win in the game. In the western film also faces a more profound transformation and differentiation. During this period, the western film creation from the aesthetic culture and the development of the main performance is: the value orientation of diversification, diversification of aesthetic narrative style, various types of possibilities to explore the general comedy element and commercial amplification, in the context of multiple image language the evolution of ecological environment. In the face of the film creation complex, Chinese western film how to create great works to match our time? How to Chinese movie commensurate with which we encounter in this era, about the China is the world's story, as well as in the world of the China story? In addition to the need for a comprehensive integration of resources the Western movie and television culture, to further improve the western film industry chain, to broaden the market channels and distribution channels, and make full use of new media and culture occupy the heights, It is more important to the revaluation of Chinese classic western movies the value of heritage and adhere to the "spirit of the west" One principle runs through it all. root Xue and "realism" concern, under the globalization and the western development in the current context, "along the way" the tide of the times, to open a narrative of western films and Chinese power culture, as well as the ability to dialogue China film and world cinema and possible.

【学位授予单位】：西北大学
【学位级别】：博士
【学位授予年份】：2015
【分类号】：J901

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