贾樟柯电影叙事伦理研究
发布时间：2018-12-15 12:56
【摘要】：贾樟柯，第六代导演的领军人物，他的电影自问世时，便以其独特的题材、视点和创作方法等，引起了国内外电影界的关注。作为20世纪90年代电影界的新起之秀，贾樟柯用胶片记录着变迁中的中国，以其独特的创作特色，构建了迥异于传统的宏大叙事的个人小叙事，以独特的创作视角真实客观的展现了中国现代化进程中的底层边缘人物的生存境遇，占领世界影视的一隅。其电影被认为是：“传递着最为真切的生命体验，在表现新时期个体与环境的强烈冲突中，始终冷静客观地关注着最底层人民的生存状态。”本文主要是对其影片进行叙事伦理层面的分析，从贾樟柯电影的叙事空间、叙事视角以及叙事手法的运用等方面出发，分析其电影表现出怎样的道德情操和道德悲悯。 本论文主要由六部分组成：第一部分是绪论，主要论述了贾樟柯的电影，其影片在国内外所获得的奖项，贾樟柯影片中的叙事和叙事伦理概念的来源。第二部分是贾樟柯电影叙事空间与叙事伦理，电影是一种视觉艺术，空间呈现是电影艺术中不可或缺的重要组成部分，本章对贾樟柯电影所呈现的叙事空间进行分类，进而分析从这些空间中呈现出的叙事伦理。第三部分是流行音乐与叙事反讽，流行歌曲在贾樟柯的影片中多次出现，其功能是多种多样的，除了推动剧情的发展、表达主人公的心理情感之外，还具有叙事层面上的反讽功能。第四部分是人物命运与道德悲悯，本章对贾樟柯影片中的各类人物进行分析，例如故乡的边缘人、城市的漂泊者、城市的下岗工人和女性形象等，通过把这些人物置于各个不同的道德语境中，使其做出伦理选择和价值判断，，进而分析其电影表达出的道德悲悯。第五部分是底层叙事与个体自由叙事伦理，本章从贾樟柯电影的叙事视角出发，分析他选择底层叙事的原因，以及其影片对爱的伦理追求和对底层人物的人文关怀。第六部分是结语，“双重拒绝”与电影叙事伦理危机，通过对布迪厄场域理论的分析，阐述了电影叙事伦理面临的危机。
[Abstract]:Jia Zhangke, the leading figure of the sixth generation director, has attracted the attention of the domestic and foreign film circles with his unique themes, viewpoints and creative methods since his film came out. As a new star in the film industry in the 1990s, Jia Zhangke used film to record the changing China. With his unique creative characteristics, Jia Zhangke constructed a small personal narrative, which is totally different from the traditional grand narrative. The unique visual angle of creation shows the living conditions of the underclass marginal characters in the process of Chinese modernization and occupies a corner of the world film and television. Its film is regarded as: "transmit the most real life experience, in the performance of the new era of the strong conflict between the individual and the environment, always calmly and objectively pay attention to the survival of the people at the bottom of the state." This paper mainly analyzes the narrative ethics of Jia Zhangke's films, starting from the narrative space, narrative perspective and the use of narrative techniques, analyzes the moral sentiment and moral compassion of Jia Zhangke's films. This thesis is composed of six parts: the first part is the introduction, mainly discusses Jia Zhangke's films, the awards of his films at home and abroad, and the source of narrative and narrative ethical concepts in Jia Zhangke's films. The second part is Jia Zhangke film narrative space and narrative ethics, film is a visual art, space presentation is an indispensable part of film art, this chapter classifies the narrative space presented by Jia Zhangke film. Then it analyzes the narrative ethics presented from these spaces. The third part is popular music and narrative irony. Pop songs appear many times in Jia Zhangke's films. Their functions are varied, except to promote the development of the plot and to express the psychological feelings of the protagonists. It also has the function of irony in narrative level. The fourth part is the fate of the characters and moral compassion. This chapter analyzes all kinds of characters in Jia Zhangke's films, such as the marginal people of hometown, the vagrants of the city, the laid-off workers and the female images of the city, etc. By placing these characters in different moral contexts and making them make ethical choices and value judgments, the moral compassion expressed in their films is analyzed. The fifth part is the bottom narrative and individual free narrative ethics, this chapter from the narrative perspective of Jia Zhangke film, analysis of the reasons for his choice of the bottom narrative, as well as his film's ethical pursuit of love and humanistic concern for the bottom characters. The sixth part is the conclusion, "double rejection" and the crisis of film narrative ethics. Through the analysis of Bourdieu's field theory, this paper expounds the crisis that film narrative ethics faces.
【学位授予单位】：河南大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J911
本文编号：2380667
[Abstract]:Jia Zhangke, the leading figure of the sixth generation director, has attracted the attention of the domestic and foreign film circles with his unique themes, viewpoints and creative methods since his film came out. As a new star in the film industry in the 1990s, Jia Zhangke used film to record the changing China. With his unique creative characteristics, Jia Zhangke constructed a small personal narrative, which is totally different from the traditional grand narrative. The unique visual angle of creation shows the living conditions of the underclass marginal characters in the process of Chinese modernization and occupies a corner of the world film and television. Its film is regarded as: "transmit the most real life experience, in the performance of the new era of the strong conflict between the individual and the environment, always calmly and objectively pay attention to the survival of the people at the bottom of the state." This paper mainly analyzes the narrative ethics of Jia Zhangke's films, starting from the narrative space, narrative perspective and the use of narrative techniques, analyzes the moral sentiment and moral compassion of Jia Zhangke's films. This thesis is composed of six parts: the first part is the introduction, mainly discusses Jia Zhangke's films, the awards of his films at home and abroad, and the source of narrative and narrative ethical concepts in Jia Zhangke's films. The second part is Jia Zhangke film narrative space and narrative ethics, film is a visual art, space presentation is an indispensable part of film art, this chapter classifies the narrative space presented by Jia Zhangke film. Then it analyzes the narrative ethics presented from these spaces. The third part is popular music and narrative irony. Pop songs appear many times in Jia Zhangke's films. Their functions are varied, except to promote the development of the plot and to express the psychological feelings of the protagonists. It also has the function of irony in narrative level. The fourth part is the fate of the characters and moral compassion. This chapter analyzes all kinds of characters in Jia Zhangke's films, such as the marginal people of hometown, the vagrants of the city, the laid-off workers and the female images of the city, etc. By placing these characters in different moral contexts and making them make ethical choices and value judgments, the moral compassion expressed in their films is analyzed. The fifth part is the bottom narrative and individual free narrative ethics, this chapter from the narrative perspective of Jia Zhangke film, analysis of the reasons for his choice of the bottom narrative, as well as his film's ethical pursuit of love and humanistic concern for the bottom characters. The sixth part is the conclusion, "double rejection" and the crisis of film narrative ethics. Through the analysis of Bourdieu's field theory, this paper expounds the crisis that film narrative ethics faces.
【学位授予单位】：河南大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J911
【参考文献】
相关期刊论文 前3条
1 韩琛;;“电影民工”的“游民电影”——贾樟柯电影与底层中国[J];电影评介;2006年19期
2 尹鸿;;世纪转型:当代中国的大众文化时代[J];电影艺术;1997年01期
3 王春林;;新世纪长篇小说中底层叙事的四种形态[J];中国现代文学研究丛刊;2011年08期
相关博士学位论文 前1条
1 李新;新世纪文学中的底层叙事[D];东北师范大学;2009年
本文编号：2380667
本文链接：https://www.wllwen.com/wenyilunwen/dianyingdianshilunwen/2380667.html
