CEPA十年香港内地合拍片的叙事空间建构

发布时间：2018-03-05 16:30

本文选题：合拍片　切入点：叙事空间　出处：《辽宁师范大学》2014年硕士论文　论文类型：学位论文

【摘要】：香港内地的合拍历史始于上世纪80年代，大致经历了80年代香港主导的初步发展期、90年代初期伴随着台湾资金的涌入两岸三地的活跃高潮期、从97回归至2003年前后的低谷萎靡期、及2004年至今CEPA推动下的十年磨合期。2003年具有里程碑意义的《内地与香港关于建立更紧密经贸关系的安排》(CEPA)的签订，在给予了香港电影复苏的希望的同时，也开启了两地合拍片的新纪元。本文聚焦的正是从2004年至2013年CEPA十年间的合拍片共融与共赢的发展阶段。从2004年CEPA正式生效至今十年的发展总体呈现出融合与冲突共存的特点：一方面，十年间香港与内地的合拍片数量突飞猛涨，票房也是节节攀升。2005至2009年，内地与香港合拍片从20部增长到29部，票房从5.79亿猛增至23.61亿元。2013年，两地合拍片成为了国产电影票房的中流砥柱，贡献了约76.8亿，约占中国电影总票房的35%。香港成熟的电影运作机制和类型电影的创作经验被引进内地，内地电影的创作观念、营销手法均有不同程度的提升，对于内地电影产业商业化和规范化的建立无疑具有重要的借鉴意义。除此之外，两地的合拍片不仅成为了市场的主力，，而且形成了华语电影的新联盟，形成了与好莱坞大片抗衡的态势。另一方面，合拍片中确实存在部分刻意迎合内地观众的审美趣味、质以短期经济利益为目的粗制滥造和滥竽充数的影片。CEPA正式生效后的十年间，双方由最初的盲目乐观逐渐过渡为对合拍片冷静客观的审视。本文主要通过对十年间部分香港导演执导的两地合拍片的文本及数据分析，试图归纳两地合拍片叙事空间的建构与展示的特点，并从空间与社会、历史的三元辩证统一角度分析叙事空间特点及CEPA前后的身份与文化的认同历程。本文共分为四章，主要研究涉及了电影叙事学和社会空间理论角度下的香港内地合拍片的叙事空间的构成、主要特征以及CEPA正式实施后的香港导演主导的合拍片中叙事空间建构下所反映的港人的身份特征与文化认同。第一章绪论，包括选题的背景、研究现状、研究方法和研究意义。第二章梳理空间理论的发展脉络和叙事学转向，浅析空间与文化的承载、表征关系，简述电影的叙事空间的界定及类型划分。第三章以2004-2013年部分合拍片为研究样本，从影像空间的地域选择、风格呈现以及感悟空间的文化意蕴三个方面系统而详细阐述合拍片叙事空间的“无地域空间”特点。第四章则从空间的社会性和历史性的角度，探索合拍片前后从寻根到扎根的身份认同、以及由从中、港、英三维权力空间转变为“城”与“国”的变奏的文化认同。最后为结论部分。本文的创新点在于打破了以往合拍片研究中以时间维度为纲的线性研究惯例，摆脱了从内地人物形象转变角度探讨合拍片的文化认同的传统视角。本论文以叙事空间维度的纵向关照为主线，探索合拍片“无地域空间”的规律以及受之影响的两地文化隐忧；将空间、社会、历史的三元辩证法运用于CEPA前后港人的身份确认及文化认同的历程挖掘。
[Abstract]:The interior of Hongkong in history began in the last century in 80s, has experienced the initial development stage of the Hongkong 80s, early 90s with Taiwan influx of funds on both sides of the three active period, from 97 to 2003 before and after the return trough malaise, and since 2004 CEPA to promote the ten years period.2003 years has milepost significance the "mainland and Hongkong Closer Economic Partnership Arrangement" (CEPA) signed, given the Hongkong film recovery hope at the same time, but also opened a new era of two co productions. The focus is the stage from 2004 to 2013 ten CEPA co productions between the integration and development of win-win situation. The overall development from 2004 CEPA officially entered into force since ten years showed the fusion and characteristics of conflict coexist: on the one hand, ten years in Hongkong and the mainland co productions number skyrocketed, the box office is also climbed steadily .2005 up to 2009, the mainland and Hongkong co production from 20 growth to 29, the box office soared from 579 million to 2 billion 361 million yuan.2013, the two co productions has become the mainstay of the domestic movie box office, with about 7 billion 680 million, accounting for about China film total box 35%. Hongkong mature film operation mechanism and the type of film creation experience by the introduction of the mainland, the mainland film creation idea, marketing practices have improved in different degrees, undoubtedly have important significance for the establishment of the mainland film industry commercialization and standardization. In addition, the two co productions has not only become the main market, and formed a new alliance of Chinese films, with the formation of Hollywood a large counter trend. On the other hand, some deliberately to cater to the audience's aesthetic taste the existence of CO productions, the short-term economic benefits for the purpose of cheating and crudely made The film.CEPA came into effect ten years after the two sides by blindly optimistic initial gradually transition to the examination of the Coproductions objective. This paper mainly through the ten part of the text and data analysis of the two co productions directed by Hongkong, to summarized the characteristics of construction and display of the two co productions of narrative space, and from space with the society, three yuan history of the dialectical unity of perspective of identity and cultural identity process and narrative space characteristics and CEPA.
This paper is divided into four chapters, which mainly studies involving the Hongkong mainland co productions of film narrative and social space theory from the perspective of narrative space, identity and cultural identity of Hong Kong people reflect the main features and construct the narrative space of CEPA after the formal implementation of the Hongkong director leading co productions under the first chapter. That includes the background, research status, research methods and research significance. The second chapter combs the development history and narrative space theory to the analysis of space, bearing, culture and characterization, definition and classification of the film's narrative space. In the third chapter, with 2004-2013 years of CO productions as the research sample, choose from the image the geographical space, style and feeling of the space cultural implication of three aspects of the system and detailed Coproductions narrative space "non geographical space". The fourth chapter is from From the social and historical perspective of space, we explore the identity of the co productions before and after the root seeking, and the cultural identity from the three dimensional power space in Hong Kong and the UK to the variation of "city" and "state".
The innovation of this paper lies in breaking the previous linear co productions research practices in the time dimension for the outline of the study, get rid of the transition from mainland characters perspective Coproductions cultural identity in the traditional perspective. In this paper, the longitudinal care narrative space dimension as the main line, to explore the co production of "non geographical space" as well as by law the influence of the two cultural worries; spatial, social, three yuan historical dialectic to confirm the identity of the CEPA before and after the course of Hong Kong and the cultural identity of mining.

【学位授予单位】：辽宁师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

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