论中国电影中的孙悟空形象
发布时间：2018-12-15 05:39
【摘要】：基于华夏文明的传统,“猴”作为字、作为图腾在历史长河中积淀生成了深厚的生物性和文化性韵味。明代吴承恩创作的《西游记》中孙悟空作为主要人物之一承载着传统社会的精神内核,为中国读者所喜爱。可考的孙悟空银幕形象源自于1927年的电影《盘丝洞》,随着科学技术的精进和电影产业的博兴,孙悟空形象作为经典IP迸发出强劲的艺术张力,再度成为当下的银幕热点。第一章从猴文化着手探析孙悟空形象产生的历史及文化渊源,并分析长篇小说《西游记》中的孙悟空形象。第二章按电影创作热潮将研究对象划分为四个阶段:20世纪20年代,“孙悟空”形象首触荧屏,引发“武侠神怪片”热潮;20世纪40至60年代,多是富有民族特色的动画电影和戏曲片,孙悟空在特定时代背景下充当文化武器,表现为教化的特质;20世纪90年代,以《大话西游》为标志,开始对孙悟空形象进行后现代化颠覆性创造,成为标识大众文化转向的风向标;2013年至今,以《西游·降魔篇》《西游·伏妖篇》为代表,延续着对孙悟空形象的多元化创造,将人性的摇摆与佛性的皈依统一于一体。第三章和第四章是对于第二章中三、四节的深入探讨。第三章以“大话”篇(《大话西游之月光宝盒》《大话西游之大圣娶亲》《大话西游3》)中的孙悟空形象作为主要研究对象,对形象塑造、叙事策略展开论述。第四章以“西游”篇(《西游·降魔篇》《西游·伏妖篇》)中的孙悟空形象作为探究主体,分析其暗黑影像风格和对传统价值的重构主题。第五章采用比较的方法,通过与美、日、韩三国电影中孙悟空形象的比较,更清晰地突显中国电影中孙悟空形象与社会变迁、文化转型、思想变革的对位关系。在当前中国电影IP产业链生产和供给侧内容改革的关键时期,本文的研究具有重要的现实实践意义。
[Abstract]:Based on the tradition of Chinese civilization, "monkey" as a word, as a totem in the history of the accumulation of profound biological and cultural charm. Sun Wukong as one of the main characters in Wu Chengen's Journey to the West in Ming Dynasty bears the spiritual core of traditional society and is loved by Chinese readers. The audible screen image of Sun Wukong originates from the 1927 film "Pan Silk Cave". With the development of science and technology and the development of film industry, Sun Wukong's image, as a classic IP, burst out strong artistic tension and become the current hot spot of screen again. The first chapter analyzes the historical and cultural origin of Sun Wukong's image from monkey culture, and analyzes the image of Sun Wukong in the novel Journey to the West. The second chapter divides the research object into four stages according to the movie creation upsurge: in the 1920s, the image of "Sun Wukong" first touched the screen, causing the "martial arts genie movie" upsurge; From the 1940s to 1960s, most of them were animated films and opera films with national characteristics. Sun Wukong acted as a cultural weapon under the background of a specific era, which was characterized by enlightenment. In the 1990s, with A Chinese Odyssey as the symbol, the image of Sun Wukong began to be subversive after modernization, and became the vane to mark the turning of popular culture. Since 2013, represented by the part of "traveling to the West", the part of "the Witchen in the West" continues the pluralistic creation of Sun Wukong's image and unifies the swing of human nature and the conversion of Buddha nature. The third and fourth chapters are the deep discussion of the third and fourth sections of the second chapter. The third chapter focuses on the image of A Chinese Odyssey in "the Box of the Moonlight of A Chinese Odyssey" ("the Box of the Moonlight of A Chinese Odyssey") and "the Great Sage of A Chinese Odyssey" (3), and discusses the shaping of the image and the strategy of narration. In the fourth chapter, the author analyzes the image of Sun Wukong in the part of "traveling to the West" (the part of falling Demons in the West) and the theme of reconstructing the traditional value. The fifth chapter adopts the comparative method, through the comparison with Sun Wukong's image in the American, Japanese and Korean films, more clearly highlights the corresponding relationship between the image of Sun Wukong and social changes, cultural transformation and ideological change in Chinese films. In the key period of production and supply-side content reform of China's film IP industry chain, the research of this paper has important practical significance.
【学位授予单位】：山东艺术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J905
本文编号：2380079
[Abstract]:Based on the tradition of Chinese civilization, "monkey" as a word, as a totem in the history of the accumulation of profound biological and cultural charm. Sun Wukong as one of the main characters in Wu Chengen's Journey to the West in Ming Dynasty bears the spiritual core of traditional society and is loved by Chinese readers. The audible screen image of Sun Wukong originates from the 1927 film "Pan Silk Cave". With the development of science and technology and the development of film industry, Sun Wukong's image, as a classic IP, burst out strong artistic tension and become the current hot spot of screen again. The first chapter analyzes the historical and cultural origin of Sun Wukong's image from monkey culture, and analyzes the image of Sun Wukong in the novel Journey to the West. The second chapter divides the research object into four stages according to the movie creation upsurge: in the 1920s, the image of "Sun Wukong" first touched the screen, causing the "martial arts genie movie" upsurge; From the 1940s to 1960s, most of them were animated films and opera films with national characteristics. Sun Wukong acted as a cultural weapon under the background of a specific era, which was characterized by enlightenment. In the 1990s, with A Chinese Odyssey as the symbol, the image of Sun Wukong began to be subversive after modernization, and became the vane to mark the turning of popular culture. Since 2013, represented by the part of "traveling to the West", the part of "the Witchen in the West" continues the pluralistic creation of Sun Wukong's image and unifies the swing of human nature and the conversion of Buddha nature. The third and fourth chapters are the deep discussion of the third and fourth sections of the second chapter. The third chapter focuses on the image of A Chinese Odyssey in "the Box of the Moonlight of A Chinese Odyssey" ("the Box of the Moonlight of A Chinese Odyssey") and "the Great Sage of A Chinese Odyssey" (3), and discusses the shaping of the image and the strategy of narration. In the fourth chapter, the author analyzes the image of Sun Wukong in the part of "traveling to the West" (the part of falling Demons in the West) and the theme of reconstructing the traditional value. The fifth chapter adopts the comparative method, through the comparison with Sun Wukong's image in the American, Japanese and Korean films, more clearly highlights the corresponding relationship between the image of Sun Wukong and social changes, cultural transformation and ideological change in Chinese films. In the key period of production and supply-side content reform of China's film IP industry chain, the research of this paper has important practical significance.
【学位授予单位】：山东艺术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J905
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