贺岁电影类型研究
发布时间：2019-03-20 21:53
【摘要】：1995年，随着成龙的《红番区》在内地上映，“贺岁片”的概念被随之引入内地，1997年，冯小刚拍摄的《甲方乙方》为内地贺岁片的探索拉开了序幕。走过十七年，贺岁片得到了迅速发展，成为最具中国本土特色的电影形态之一，不仅内容形式得到拓展，票房更是屡创佳绩。自上世纪九十年代以来，“过年电视看春晚，电影看贺岁片”已经成为一种文化消费习惯，然而贺岁片表面的繁荣却无法掩盖其内在的危机，这种危机主要来自于对贺岁片概念的界定。长期以来，“类型说”和“档期说”一直僵持不下，对贺岁片定义的不确定、对贺岁片和贺岁档影片的混淆直接导致电影创作的混乱，凡是春节前后上映的电影都被冠以贺岁片之名。学界的研究主要是产业化研究和社会历史批评等外部研究，对贺岁片的内部研究鲜少论及，目前对贺岁片的类型研究缺乏较为全面的论据和充分的论证。鉴于此，本论文试图从类型电影的维度，对贺岁片进行历时和共时的研究。贺岁片的巨大影响和理论研究的缺陷决定了本论文研究的学术和实践意义。 为避免贺岁片定义的混淆，本论文以“贺岁电影”来称谓类型性的贺岁片，主要从以下三个方面开展对贺岁片类型意义上的研究。第一章主要探讨贺岁电影的底层结构，贺岁文化与电影贺岁的传统，并论述贺岁文化如何向电影渗透形成贺岁电影，通过三个方面来阐述：“贺岁”的文化内涵和特征；电影能够贺岁的原因；电影贺岁的历程。第二章主要对贺岁电影的类型性进行理论阐释，从而建立类型意义的贺岁电影，通过阐述类型电影及类型电影理论，找到类型电影的根本——原型，在考察春节文化原型的基础上，，进而论述贺岁电影的类型性特征，即在主题、人物、叙事、底色、视听形式等方面的类型性。贺岁电影除了类型性特征外，还有在题材、风格、受众等方面的文化特征。第三章通过论述贺岁电影在传承民族文化、加深民族文化认同、塑造国家形象、推进电影产业化方面的重要作用，探讨贺岁电影在建构文化自觉中的价值与意义。
[Abstract]:In 1995, with the release of Jackie Chan's "Red Tomb" in the mainland, the concept of "New year's New year" was introduced into the mainland. In 1997, Party A and Party B, filmed by Feng Xiaogang, kicked off the exploration of the mainland New year Film. After seventeen years, the New year film has developed rapidly and has become one of the most characteristic film forms in China, not only the content form has been expanded, but also the box office has made great achievements. Since the 1990s, "watching the Spring Festival Gala on New year's TV and watching New year's movies" has become a habit of cultural consumption. However, the prosperity of the surface of the New year's Film cannot hide its internal crisis. This kind of crisis mainly comes from the definition of the New year film concept. For a long time, "typology" and "chronological theory" have been stuck in a stalemate. The uncertainty about the definition of New year movies and the confusion between New year films and New year films directly lead to confusion in film creation. All films released before and after the Spring Festival are named New year movies. The academic research is mainly about industrialization and social and historical criticism. The internal research of the New year film is seldom discussed. At present, the research on the types of the New year film lacks a more comprehensive argument and full proof. In view of this, this paper attempts to carry on the diachronic and synchronic research to the New year film from the dimension of the genre film. The great influence of the New year Film and the defects of theoretical research determine the academic and practical significance of this thesis. In order to avoid the confusion of the definition of New year's New year film, this paper refers to the New year's New year film as the type of New year's film, mainly from the following three aspects to carry out the research on the meaning of the New year's new year film. The first chapter mainly discusses the bottom structure of the New year film, the culture of the New year and the tradition of the film, and discusses how the New year culture permeates the film to form the New year film, and expounds the cultural connotation and characteristics of "New year's New year" through three aspects; The reason why the film can celebrate the New year; the course of the film's New year. The second chapter mainly explains the typology of the New year's New year film, and then establishes the new year's new year film of the type meaning. By expounding the type film and the type movie theory, we can find out the basic-prototype of the type movie. Based on the cultural archetypes of Spring Festival, this paper discusses the typological features of the New year's New year film, namely, the typology of theme, character, narrative, background color, audio-visual form and so on. In addition to the typological features, the New year film also has cultural characteristics in the subject matter, style, audience and so on. The third chapter discusses the important role of the New year film in inheriting the national culture, deepening the national cultural identity, shaping the national image and promoting the film industrialization, and probes into the value and significance of the New year's congratulatory film in the construction of cultural consciousness.
【学位授予单位】：贵州师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905
本文编号：2444665
[Abstract]:In 1995, with the release of Jackie Chan's "Red Tomb" in the mainland, the concept of "New year's New year" was introduced into the mainland. In 1997, Party A and Party B, filmed by Feng Xiaogang, kicked off the exploration of the mainland New year Film. After seventeen years, the New year film has developed rapidly and has become one of the most characteristic film forms in China, not only the content form has been expanded, but also the box office has made great achievements. Since the 1990s, "watching the Spring Festival Gala on New year's TV and watching New year's movies" has become a habit of cultural consumption. However, the prosperity of the surface of the New year's Film cannot hide its internal crisis. This kind of crisis mainly comes from the definition of the New year film concept. For a long time, "typology" and "chronological theory" have been stuck in a stalemate. The uncertainty about the definition of New year movies and the confusion between New year films and New year films directly lead to confusion in film creation. All films released before and after the Spring Festival are named New year movies. The academic research is mainly about industrialization and social and historical criticism. The internal research of the New year film is seldom discussed. At present, the research on the types of the New year film lacks a more comprehensive argument and full proof. In view of this, this paper attempts to carry on the diachronic and synchronic research to the New year film from the dimension of the genre film. The great influence of the New year Film and the defects of theoretical research determine the academic and practical significance of this thesis. In order to avoid the confusion of the definition of New year's New year film, this paper refers to the New year's New year film as the type of New year's film, mainly from the following three aspects to carry out the research on the meaning of the New year's new year film. The first chapter mainly discusses the bottom structure of the New year film, the culture of the New year and the tradition of the film, and discusses how the New year culture permeates the film to form the New year film, and expounds the cultural connotation and characteristics of "New year's New year" through three aspects; The reason why the film can celebrate the New year; the course of the film's New year. The second chapter mainly explains the typology of the New year's New year film, and then establishes the new year's new year film of the type meaning. By expounding the type film and the type movie theory, we can find out the basic-prototype of the type movie. Based on the cultural archetypes of Spring Festival, this paper discusses the typological features of the New year's New year film, namely, the typology of theme, character, narrative, background color, audio-visual form and so on. In addition to the typological features, the New year film also has cultural characteristics in the subject matter, style, audience and so on. The third chapter discusses the important role of the New year film in inheriting the national culture, deepening the national cultural identity, shaping the national image and promoting the film industrialization, and probes into the value and significance of the New year's congratulatory film in the construction of cultural consciousness.
【学位授予单位】：贵州师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905
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本文编号：2444665
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