对抗与转向—管虎电影叙事研究

发布时间：2018-12-16 01:48

【摘要】：本文从"对抗与转向"的角度,试图把管虎的电影叙事放入"第六代导演"的框架下进行探讨和解读。通过分析其影片拍摄的社会环境和电影叙事中共同呈现的对抗与转向的叙事结构,本文得出这样一个结论:随着政治和商业对管虎的收编,管虎的先锋精神和对抗意识逐渐发生转向,并走向终结。本文的第一部分从银幕外的围困与和解角度对管虎所处的社会环境进行分析,找出管虎产生对抗情结的原因,并为其从异端的姿态到走"特殊品质商业化道路"这一转变提供依据;第二部分从银幕内的故事入手分析影片中内含的对抗结构:作为对抗主体的个人,以摇滚、性/爱情、寻梦为仪式展开对抗,但最终以悲剧告终,体现为逃不出的围困。第三部分从电影语言角度探讨管虎电影美学从先锋到和解的发生过程:从以米兰·昆德拉"在路上"的行走色调讲述青年人精神历程的青春自叙传,到走向隐喻和象征的历史叙事,其中呈现出狂欢的语言特色。
[Abstract]:From the angle of confrontation and turn, this paper tries to put Guan Hu's film narration into the framework of the sixth Generation Director. By analyzing the social environment in which the film is filmed and the narrative structure of confrontation and turning which are common in the film narration, this paper draws a conclusion: with the political and commercial readjustment of Guan Hu, The vanguard spirit and antagonism consciousness of Guan Hu gradually turn and end. The first part of this paper analyzes the social environment of Guan Hu from the angle of besieging and reconciliation outside the screen, and finds out the reasons for the antagonism complex of Guan Hu. It also provides the basis for its transition from heresy to "special quality commercialization". The second part starts with the story in the screen and analyzes the antagonistic structure contained in the film: the individual, as the antagonist, confronts with the ritual of rock, sex / love and dream seeking, but ends with tragedy, which is embodied in the besieging that cannot be escaped. The third part discusses the process of Guan Hu's film aesthetics from the vanguard to reconciliation from the angle of film language: from the walking tone of Milan Kundera's "on the Road" to the self-narration of youth's spiritual course. To the historical narrative of metaphor and symbolism, which presents the language characteristics of carnival.
【学位授予单位】：浙江大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：J911

【相似文献】