王小帅电影中的男性形象研究

发布时间：2018-06-10 17:32

本文选题：王小帅电影 + 男性形象　；参考：《上海师范大学》2013年硕士论文

【摘要】：中国电影中的男性形象，许许多多、形形色色。在以王小帅等人的作品为代表的第六代导演作品中，我们可以看到性格更加复杂、生活气息更加浓郁的人物形象。王小帅是第六代电影导演中影像风格较为成熟的代表,他自电影学院毕业以来，每隔两三年推出一部影片。迄今为止，其导演的剧情长片共有10部。每一部都给人少年老成、思想深邃的感觉，他塑造的男性形象都带有浓厚的自身特色。本文分四章对王小帅电影中的男性形象做了分析和概括，并试图从中总结提炼出王小帅在男性形象设置上的一些导演意图及文化内涵。第一章绪论部分，首先介绍了王小帅的从影经历及其剧情长片的获奖情况；其次简要介绍了90年代初的电影语境，分析了王小帅走上“地下”制片道路的原因。最后介绍了目前对王小帅电影研究的一些论述，说明了王小帅电影中男性形象的研究意义；第二章重点论述了王小帅电影中的各种男性形象，并且将其分成父亲形象、反叛艺术家形象、城市边缘人形象和青春形象。从男性形象的角度讲，王小帅除了《冬春的日子》和《极度寒冷》塑造了疏离式的人物形象之外，其他电影中的男性形象都有纪实特性，比如《二弟》、《十七岁的单车》、《左右》中的男性形象，都是在生活中清晰可见、并不是那种具有浓重欧洲式疏离气质的男性形象。较之娄烨《苏州河》、《颐和园》、《春风沉醉的晚上》中的男性形象，王小帅电影中的男性形象普遍都寡言少语，但具体可感、朴实动人。他通过这些男性形象地塑造凸显了在工业化、全球化语境下对于社会转型中底层人物命运的关照。第三章以王小帅电影影像文本为例，从影像细节、镜头调度、光影构图各方面，分析其电影中的各种男性形象地影像塑造手法。第四章对其电影中男性形象的特点和意义进行了论述，同时，，笔者也明显地感觉到王小帅近期的作品，所谓的“个人”已经渐渐模糊、他作品中主题之外拓展、延展已经成为一种看似独立，实则普遍的社会大相。因此，王小帅电影中的男性形象类型地塑造也体现了一段变化地过程。而这种变化过程与他从困境到领悟、从挣扎到回归地思想变化过程有关。本文分析人物形象并不同一般意义上，把男性形象分为英雄、丈夫、儿子等具有强烈男性气质特征的人物，而是以王小帅各部电影中男性主角人物为切入点，从社会文化的角度分析其中男性主角人物的形象塑造。事实上我们分析他电影中的男性形象的主要动因是分析其艺术观念，把握其创作特点。
[Abstract]:The male images in Chinese films are numerous and varied. In the sixth generation directorial works represented by Wang Xiaoshuai and others, we can see the characters with more complex character and rich life atmosphere. Wang Xiaoshuai is the sixth generation film director image style more mature representative, he since the film academy graduation, every two or three years release the movie. So far, its director has 10 feature films. Each film gives people a deep feeling of maturity and profound thinking, and the male images he portrays have their own strong characteristics. This paper analyzes and generalizes the male images in Wang Xiaoshuai's films in four chapters. And attempts to summarize Wang Xiaoshuai in the male image of some of the intention and cultural connotation of the director. The first chapter introduces Wang Xiaoshuai's film experience and the winning situation of the feature film, and then briefly introduces the film context in the early 1990s, and analyzes the reasons why Wang Xiaoshuai took the road of "underground" production. Finally, it introduces some expositions on Wang Xiaoshuai's films, and explains the significance of the research on male images in Wang Xiaoshuai's films. Chapter two focuses on the various male images in Wang Xiao-shuai 's films, and divides them into father images. Rebel artist image, city fringe image and youth image. In terms of male image, apart from the days of Winter and Spring and the extreme Cold, Wang Xiaoshuai has created a alienated character, and all the male images in other films have documentary characteristics. For example, the male images in "second Brother", < Seventeen year's Cycling, "left and right" are clearly visible in life, and are not the kind of male images with a strong European alienation. Compared with Lou Ye's Suzhou River, < the Summer Palace >, Spring Wind intoxicated Night, male images in Wang Xiaoshuai's films are generally silent, but concrete, simple and moving. Through these masculine images, he highlights his concern for the fate of the underclass characters in the context of industrialization and globalization. The third chapter takes Wang Xiaoshuai's film image text as an example, from the image detail, the lens scheduling, the light and shadow composition each aspect, analyzes each kind of male image shaping technique in his film. The fourth chapter discusses the characteristics and significance of the male image in his films. At the same time, the author also obviously feels that Wang Xiaoshuai's recent works, the so-called "individual" has gradually become blurred, and he has expanded beyond the theme of his works. Extension has become a seemingly independent, general social phase. Therefore, Wang Xiaoshuai's male image in the film also reflects a changing process. This process of change is related to his changing process from predicament to comprehension, from struggling to returning to thinking change. This paper analyzes the characters in different ways, classifying male images into heroes, husbands, and so on. Son and other characters with strong masculine temperament, but with Wang Xiaoshuai in the film of the male protagonist as a breakthrough point, from the perspective of social and cultural analysis of the image of the male protagonist. In fact, the main reason for us to analyze the male images in his films is to analyze his artistic concepts and grasp his creative characteristics.
【学位授予单位】：上海师范大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905

【参考文献】