表征奥运:后格林斯潘时代奥运官方电影的影像建构

发布时间：2018-12-20 18:33

【摘要】：21世纪以来,随着全球形势的变化,奥运官方电影进入到"后格林斯潘"时代,国际奥委会恢复了委托举办国摄制机构制作奥运官方电影的传统,从而开启了奥运官方电影创作的新时期。本文以"后格林斯潘时代"制作的三部奥运官方电影为研究对象,引入斯图尔特·霍尔的"表征"理论,深入探讨"后格林斯潘时代"奥运官方电影的影像建构特点。经研究发现,奥运官方电影从格林斯潘时代的"美国英雄主义故事模式"转变为"全球时代的自我体验模式"。在这种创作模式中,对奥林匹克精神的阐释从"宣扬英雄主义"到"关注个体的内在体验",在运动项目和运动员文化符号的选择上更加注重平等性、民族性和混杂性,男女运动项目的性别差异进一步被模糊化,移民群体得到重视。在美学表达上,从他者视角转变为第一人称的自我叙事。这些新的发展趋势为创作2022年北京—张家口冬奥会官方电影提供了有益的借鉴。
[Abstract]:Since the 21st century, with the change of the global situation, the Olympic official film has entered the "post-Greenspan" era, and the IOC has resumed the tradition of entrusting the host country with the production of the official Olympic film. Thus opened the Olympic official film creation new period. This paper takes three official Olympic films produced in Post-Greenspan era as the research object, introduces Stewart Hall's theory of "representation", and probes into the characteristics of image construction of "post-Greenspan era" Olympic official films. The study found that the official Olympic film changed from "American heroism story mode" in Greenspan era to "self-experience mode in the global era". In this creative mode, the interpretation of the Olympic spirit from "propagating heroism" to "paying attention to the internal experience of the individual" pays more attention to equality, nationality and confusion in the selection of sports events and athletes' cultural symbols. Gender differences between men and women sports have been further blurred, and migrant groups have been taken seriously. In aesthetic expression, from the perspective of otherness to the first-person self-narration. These new trends provide a useful reference for the creation of the 2022 Beijing-Zhangjiakou Winter Olympics official film.
【作者单位】：北京体育大学体育传媒系;
【分类号】：J905

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