“孙悟空”影视形象建构的传播学解读

发布时间：2018-06-24 02:48

本文选题：孙悟空 + 影视形象　；参考：《山东师范大学》2017年硕士论文

【摘要】：“孙悟空”的形象历来就是中华民族传统文化中的瑰宝,同时也是一个重要的文化符号。伴随着时代的发展,“孙悟空”的影视形象也随之产生了更多更新的符号意义。20世纪20年代以来,随着时代的发展,“孙悟空”影视形象的能指和所指意义也在不断发展着。这与“孙悟空”形象自身的性质有关,也与大众文化传播语境有关。本文以20世纪20年代以来“孙悟空”影视形象的能指和所指及其传播为研究对象,以罗兰·巴特的结构主义符号学理论为研究依据,结合具体的“孙悟空”形象影视作品,从话语层、迷思层和意识形态层三个层面分析不同时代媒介背景下的“孙悟空”影视形象的能指和所指。1926年,“孙悟空”影视形象第一次出现在《孙行者大战金钱豹》中,时间发展到今时今日,“孙悟空”形象的华语影视作品已经多达46部,同时也被美国、日本、泰国、越南、韩国等不同国家引进,纷纷进行了不同文化背景下的“孙悟空”影视形象建构。20世纪20年代是“孙悟空”影视形象的初次出现,同时也是中国电影艺术刚刚起步的探索时期,虽然这一时期有关“孙悟空”形象的影视作品数量非常可观,但是由于当时的电影制作手法非常不成熟,保存的方式也过于简单,再加上当时复杂动荡的社会背景等因素,到现在保存相对完好的已经没有多少了。进入30年代,1931年发生了历史上著名的“九·一八”事变,改变了当时的中国社会,也改变了当时社会的传播语境。同时左翼电影运动和复兴国片运动兴起,并且以“改革神怪、迷信、凶恶、打杀之国片作风,提倡艺术、宣扬文化、启发民智、挽救影业;严肃、认真、有良心;普及社会教育、对抗外片垄断、提高艺术道德、尊重演员人格”(1)为宗旨,所以30年代属于“孙悟空”形象影视作品的空档期。而国外的“孙悟空”形象影视作品媒介背景和受众心理以及社会发展程度不同于中国,并且影视作品总体数量不多。综上所述,本文不对20世纪20年代至30年代以及国外的相关影视作品做重点研究。因此笔者主要选取《铁扇公主》(1941年)、《大闹天宫》(1964年)、《大话西游》(1995年)和《西游:降魔篇》(2013年)四部作品进行探究。本文主要以《铁扇公主》(1941年)、《大闹天宫》(1964年)、《大话西游》(1995年)和《西游:降魔篇》(2013年)四部影视作品中的“孙悟空”形象为研究对象,从话语层、迷思层和意识形态层三个方面分别分析不同时期“孙悟空”影视形象的能指和所指,并从中得出“孙悟空”影视形象建构的原因和启示。本文的研究内容分为以下几个部分:第一部分,《铁扇公主》(1941年)中的“孙悟空”。首先话语层的“孙悟空”,能指为中国传统京剧形象武生的装扮和迪斯尼卡通形象米老鼠的长相的结合体;所指为中国传统民族元素和外国优秀经验的融合。其次迷思层的“孙悟空”,能指为与猪八戒和沙和尚等人一起打败牛魔王,借到芭蕉扇扑灭火焰山的大火的人物形象;所指为团结人民群众和各方力量对抗日本帝国主义的侵略的形象。最后意识形态层的“孙悟空”,能指为抗日战争背景下的人物形象,团结一致共同抗战的精神;所指为教化的本质。第二部分,《大闹天宫》(1964年)中的“孙悟空”。首先话语层的“孙悟空”,能指为中国传统京剧脸谱形象;所指为中国民族特色的体现。其次迷思层的“孙悟空”,能指为大闹天宫打败玉皇大帝和一众神仙,最终回到花果山过上无忧无虑的生活;所指为中国人民一定能战胜自然灾害过上幸福安康的新生活。最后意识形态层的“孙悟空”,能指为建国后三年自然灾害时期的人物形象;所指为政治化的符号。第三部分,《大话西游》(1995年)中的“孙悟空”。首先话语层的“孙悟空”,能指为满嘴脏话,满身杂毛,衣着邋遢的强盗头子;所指为小人物的形象。其次迷思层的“孙悟空”,能指为有诸多女人有着感情纠葛,自私市侩,厌烦取经的小人物;所指为人性化元素的注入。最后意识形态层的“孙悟空”,能指为“神性”的消解和“人性”的突显;所指为后现代主义思潮影响下的人性化元素的突显。第四部分,《西游:降魔篇》(2013年)中的“孙悟空”。首先话语层的“孙悟空”,能指为矮小、丑陋、畸形、恐怖的孙悟空;所指为完全妖性的孙悟空。其次迷思层的“孙悟空”,能指为为了重获自由自私自利、嗜血如命的妖怪;所指为技术进步影响下的全新人物形象。最后意识形态层的“孙悟空”,能指为技术进步对“孙悟空”形象塑造的影响加强;所指为不能完全依靠技术而忽视文化内涵。第五部分,“孙悟空”影视形象建构的原因和启示。成因总结为四个方面,分别为传播语境的变迁、受众心理的变化、媒介技术的发展和“孙悟空”形象本身具有的跨时代内涵;启示总结为随着时代的发展与进步,创作者对“孙悟空”形象的“去英雄化”处理倾向越来越明显。
[Abstract]:The image of "Monkey King" has always been a gem in the traditional Chinese culture, and it is also an important cultural symbol. With the development of the times, the image of "Monkey King" has produced more and more symbolic meanings. Since the 20s of the.20 century, with the development of the times, the image of "Monkey King" film and television image can be pointed out. It is related to the character of the image of Monkey King and the communication context of the mass culture. This article is based on the theory of Roland Bart's structuralist semiotics. "Monkey King" image film and television works, from the discourse layer, the myth layer and the ideological level three levels to analyze the image of "Monkey King" under the different times of the media image of "Monkey King" in.1926 years, "Monkey King" film image first appeared in "Sun Walker war money leopard >", the time developed to today, "Monkey King". The image of Chinese film and television works has been as many as 46 parts, but also by the United States, Japan, Thailand, Vietnam, South Korea and other countries to introduce the image construction of "Sun Wukong" film and television image under different cultural backgrounds, in 20s century is the first appearance of "Sun Wukong" film and television image, but also the exploration of Chinese film art just start to explore. During this period, although the number of film and television works on the image of "Monkey King" was very considerable in this period, because of the very immature methods of film making at that time, the way of preservation was too simple, and the complicated and turbulent social background at that time, and so on. The famous "9 / 8" incident has taken place in history, changing the Chinese society at that time and changing the communication context of the society at that time. At the same time, the left wing film movement and the revival of the national film movement rose, and the style of "reforming the gods, superstitions, ferocious, killing and killing the national film style, advocating art, promoting culture, inspiring the wisdom of the people, saving the film industry, and recognizing the seriousness and recognition." True, conscience; popularize the social education, resist the external monopoly, improve the artistic morality, respect the personality of the actor (1) for the purpose, so in 30s, it belongs to the "Sun Wukong" image film and television works, and the foreign "Monkey King" image film and television works media background and audience psychology and social development degree different from China, and film and television work In summary, this article does not focus on the related film and television works from 1920s to 30s and abroad. Therefore, the author mainly selects four works: "Princess Iron Fan" (1941), < grand temple > (1964), "big talk" > (1995) and < westward: Demon article > (2013). This article mainly consists of "Iron Fan". The image of "Monkey King" in four films and television works is the object of study in the four films and TV works of < (1941), "Dahua Tian Gong >" (1964), "Dahua westward >" (1995) and "west travel" (2013). From three aspects of discourse, myth and ideology, the image of "Monkey King" in different periods is analyzed, and from it, "Sun Wu" The contents of this paper are divided into the following parts: the first part, "Sun Wukong" in the "Princess Iron Fan" (1941). The first discourse of "Sun Wukong", can refer to the costume of the image of the Chinese traditional Peking Opera and the combination of the appearance of a Mickey Mouse in the image of disniconet; and it refers to China The combination of the traditional ethnic elements and the excellent foreign experience. Secondly, the "Sun Wukong" of the mystique, can refer to the image of the characters of the fire of the Flaming Mountains with the banana fan to beat the king of the pig and the Sha Hun, and the image of the aggression that unite the masses and the forces against Japanese imperialism. The "Sun Wukong" of the state of state can refer to the character of the characters in the background of the war of resistance against Japan; the spirit of unity and resistance to the war of resistance; the essence of the enlightenment. The second part, the "Sun Wukong" in the 1964 (1964). The first discourse of "Sun Wukong" can refer to the Facebook image of China's traditional Peking opera; it refers to the embodiment of Chinese national characteristics. Secondly, the "Sun Wukong" in the superstition layer can refer to the great heaven palace to defeat the Jade Emperor and the immortals and eventually return to the carefree life of the flower fruit mountain. It means that the Chinese people can overcome the new life of happiness and well-being in the natural disasters. Finally, the "monkey King" of the ideological level can refer to the three year natural disaster period after the founding of the people's Republic. The figure; the symbol of the politicization. The third part, "Sun Wukong" in the "big talk" (1995). "Sun Wukong" in the first layer of discourse, can refer to a dirty word, full of miscellaneous hair, a slovenly dressed robber's head; the image of a small person. Then, "Sun Wukong", then a mystique, can refer to a number of women. Entanglement, selfish Philistine, weary of the small figures; the injection of humanized elements. The final ideological level of "Sun Wukong" can refer to the disappearance of "divinity" and "human nature"; the fourth part, "Sun Wukong in the West: the demon passage" (2013), "Sun Wukong" "Sun Wukong", the first discourse level, can be referred to as a short, ugly, deformed, and horrifying Sun Wukong; a completely demon Sun Wukong. The second misconceptions of "Sun Wukong" can be referred to as a monster to regain free selfishness and bloodthirsty, and refers to a new figure under the influence of technological progress. The fifth part, the cause and Enlightenment of the image construction of "Monkey King" in the four aspects, are the changes of the communication context, the change of the audience psychology, and the development of media technology. And the image of "Monkey King" itself has a cross time connotation, and the revelation is that with the development and progress of the times, the author's tendency to "go to the heroic" image of "Monkey King" is becoming more and more obvious.
【学位授予单位】：山东师范大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J905;G206

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