论中国当代军事题材电影中的红色爱情

发布时间：2018-03-22 12:47

本文选题：军事电影　切入点：爱情叙事　出处：《河北师范大学》2014年硕士论文　论文类型：学位论文

【摘要】：爱情是文学和电影创作中永恒的主题，中国当代军事题材电影中的爱情叙事在不同的历史时期彰显出了不同的叙事特点，从而也形成了独具中国特色的红色恋情模式。笔者重点从历时性的角度来研究中国当代军事题材电影中爱情叙事的嬗变轨迹，并在文章最后简略地与主流好莱坞军事电影中的爱情叙事进行了比较。从历时性的角度看，从情归革命到情归个人再到情与商业的合谋，中国当代军事题材电影中的爱情逐渐地开始顺应时代的发展，回归生活，回归个人，爱情也成为影片重点言说的对象。十七年时期，在政治意识形态的高度规训下，爱情描写在军事题材电影中不能占有重要的地位。这时期的爱情叙事呈现的特点是始终将革命作为第一叙事主题，恋情只能作为第二主题辅助于革命的发展，为革命服务，因此十七年时期的军人之爱归属于革命的范畴。八十年代随着思想解放运动的深入发展，军事影片创作者们开始关注军人的情感生活，出现了很多表现人情、人性的电影作品，这一时期的军人之爱开始逐渐地回归到日常生活当中，个人情感的被重视以及被书写，，使得八十年代的军人之爱归属于个人的范畴。二十世纪九十年代之后，中国社会的政治环境、经济环境、文化环境都发生了巨大的改变，军事影片的创作者们开始在叙事、制作和营销等诸多方面，吸收和借鉴商业电影的运作模式，他们开始转变叙事策略，将革命作为背景，而把爱情作为叙事重点加以突出，因此九十年代之后，军事影片中的爱情叙事呈现出了与商业、娱乐合谋的特征。但是从共时性的角度看，与主流好莱坞军事电影中的爱情叙事相比较，中国当代军事题材的影片在通过爱情来阐述“战争与人”的关系方面，大多还停留在“言情”的层面，缺少深层次的人性内涵的挖掘。
[Abstract]:Love is an eternal theme in literature and film creation. The narrative of love in Chinese contemporary military movies shows different narrative characteristics in different historical periods. The author focuses on the transmutation of love narration in Chinese military movies from a diachronic point of view. At the end of the article, a brief comparison is made with the love narration in the mainstream Hollywood military movies. From a diachronic point of view, from the revolution to the individual to the collusion between emotion and commerce, the love in the contemporary Chinese military movies gradually began to conform to the development of the times, to return to life, to return to the individual. Love has also become the focus of the film. During the 17 years, under the high discipline of political ideology, love description can not occupy an important position in military movies. The characteristic of love narrative in this period is that revolution is always regarded as the first narrative theme. Love can only serve the revolution as the second theme, so the love of the soldiers in 17 years belongs to the revolution. With the further development of the ideological liberation movement in the 1980s, military film creators began to pay attention to the emotional life of soldiers, and there appeared many films that showed human feelings and human nature. In this period, the military love began to return to the daily life gradually, the personal emotion was valued and written, which made the military love in the eighties belong to the personal category. Since the 1990s, great changes have taken place in the political, economic and cultural environment of China's society. The creators of military films have begun to write about, produce and market many aspects, such as narration, production and marketing. Absorbing and drawing lessons from the operation mode of commercial film, they began to change narrative strategy, regard revolution as background, and highlight love as narrative emphasis. Therefore, after the 1990s, the love narrative in military films appeared to be commercial. The characteristic of collusion. But from a synchronic point of view, compared with the love narration in mainstream Hollywood military movies, Chinese contemporary military films are still mostly at the level of "love" in explaining the relationship between "war and man" through love. Lack of deep human connotation excavation.
【学位授予单位】：河北师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

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