發(fā)布時(shí)間：2018-06-20 20:25

  本文選題：湘西 + 湘西影視��； 參考：《西南交通大學(xué)》2014年碩士論文

【摘要】：本文以有關(guān)于湘西地域的剿匪歷史、少數(shù)民族風(fēng)情、沈從文文學(xué)作品、革命抗戰(zhàn)等為創(chuàng)作素材的影視劇,如《烏龍山剿匪記》、《邊城》、《血色湘西》等等為研究對(duì)象,對(duì)其表現(xiàn)出來(lái)的獨(dú)特文化進(jìn)行梳理,提煉出“方言特色”、“人物個(gè)性”、“風(fēng)土民情”、“巫楚文化”四個(gè)方面來(lái)分析影視劇對(duì)本土文化的表征情況。 文章主要分為五章：第一章是緒論,闡述了研究背景、現(xiàn)實(shí)意義和研究方法,以及研究成果不多、不夠系統(tǒng)的現(xiàn)狀；第二章描述了方言俚語(yǔ)和山曲歌謠經(jīng)過(guò)篩選后,以精華之資出現(xiàn)在影視劇中,其中讓全國(guó)人民都聽懂“逮”字也算功勞一件了；第三章研究人物形象塑造上被束縛的原因：是文化視角差異下形成了刻板印象,戰(zhàn)士、土匪、少女、巫師等是常見的湘西熒幕角色,并夸張其性格和命運(yùn)來(lái)取悅受眾；第四章肯定了獨(dú)特民俗和紅色歷史經(jīng)驗(yàn)是本土文化表征到影視劇中最多的元素,還原式地展現(xiàn)歷史；第五章所訴的巫楚文化是湘西文化的的精髓,但是通常只以宗教儀式活動(dòng)的形態(tài)表征出來(lái),稍顯簡(jiǎn)單粗糙了,融入精神思想層次的作品甚少。每一章都在描繪如何表征本土文化之后,分析其值得肯定的地方和有待改進(jìn)之處。 湘西文化在全球化進(jìn)程中一直處于他者想象與自我敘事的博弈之中,影像表征出的豐富性、迷誤性、模糊性讓筆者嘗試探討造成諸多表達(dá)與本土文化的有出入并相互影響的現(xiàn)狀。得出結(jié)論：湘西影視劇中的文化表征存在更多的豐富性、自由性,憑借想象與藝術(shù)感覺(jué)進(jìn)行影像建構(gòu),造成與客觀真實(shí)之間更多的不同。追求生命張力與家鄉(xiāng)魅力的同時(shí),對(duì)湘西歷史進(jìn)程中本土文化被同質(zhì)化、缺失化而反思。當(dāng)然,無(wú)論是虛構(gòu)還是客觀展示,都不可免于摻雜對(duì)湘西文化的“祛魅”與“返魅”。 影視劇成為人們了解不熟悉地域的重要途徑,湘西本土文化借助影視介質(zhì)得到了較好的記錄、傳承、保護(hù)和推廣,同時(shí)在市場(chǎng)經(jīng)濟(jì)下影視商業(yè)化、消費(fèi)娛樂(lè)化的語(yǔ)境中,地域文化參與影視劇能夠豐富其內(nèi)涵,對(duì)湘西影視劇乃至中國(guó)影視的發(fā)展起到一定的積極作用。
[Abstract]:This paper focuses on films and TV dramas with materials of bandit suppression in western Hunan, customs of ethnic minorities, Shen Congwen literature, revolutionary war against Japan, etc., such as Oolong Mountain bandit suppression, Border City, Western Hunan Bloody, and so on. By combing its unique culture, it abstracts out "dialect characteristics", "personality of characters", "local feelings" and "Wichu culture" to analyze the representation of local culture in film and TV drama. The article is divided into five chapters: the first chapter is the introduction, which describes the research background, practical significance and research methods, as well as the research results are not much, not systematic status; the second chapter describes the dialect slang and mountain ballads after screening, The essence of the money appeared in the film and television drama, in which the whole nation understood the word "arrest" also counted as a contribution; chapter three studies the reasons for the shackles in the portrayal of the characters: it is the stereotype formed under the differences of cultural perspective, soldiers and bandits. Teenage girls, wizards and so on are common screen characters in western Hunan, and exaggerate their character and fate to please the audience. Chapter four affirms that unique folk customs and red historical experience are the most important elements of local culture in movies and TV dramas, showing history in a restoring way. The fifth chapter is the essence of Xiangxi culture, but it is usually represented only by the form of religious ritual activities. Each chapter describes how to characterize local culture, and analyzes its positive aspects and areas for improvement. Xiangxi culture has always been in the game of imagination and self-narration in the process of globalization. Fuzziness makes the author try to explore the current situation that many expressions are different from the native culture and influence each other. The conclusion is that there are more richness and freedom in the cultural representation of Xiangxi film and TV drama, and the image is constructed by imagination and artistic feeling, resulting in more differences between objective reality and imagination. While pursuing the life tension and the charm of hometown, we reflect on the homogenization and absence of local culture in the historical process of Xiangxi. Of course, neither fiction nor objective display is immune from the disenchantment and reenchantment of Xiangxi culture. Film and TV play has become an important way for people to understand unfamiliar regions. The native culture of Xiangxi has been better recorded, inherited, protected and promoted with the help of film and television media, and at the same time in the context of commercialization of film and television and consumption and entertainment under the market economy, The participation of regional culture in film and TV drama can enrich its connotation and play a positive role in the development of Xiangxi film and TV drama and even Chinese film and television.
【學(xué)位授予單位】：西南交通大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J905;G127

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