發(fā)布時間：2018-06-29 00:24

  本文選題：知青影視 + 理想主義�。� 參考：《武漢大學(xué)》2015年博士論文

【摘要】：知青影視是指以知識青年上山下鄉(xiāng)運(yùn)動為創(chuàng)作素材,表現(xiàn)知青在插隊或返城之后的生活與情感的作品。隨著上個世紀(jì)50年代知青運(yùn)動的爆發(fā),知青影視也相應(yīng)地出現(xiàn)在銀幕之上,并在“文革”之后全面繁盛,直到新世紀(jì)以來,仍然久演不衰,幾乎每年都有新作涌現(xiàn)。目前,知青影視作品已有100余部,但很多作品鮮為人知,而學(xué)界對它的研究也并不充分。從發(fā)展歷程上來,知青影視創(chuàng)作主要分為四個階段：前知青時期以回鄉(xiāng)知青題材為主,旨在配合官方的政策宣傳,動員現(xiàn)實中的知識青年下鄉(xiāng)務(wù)農(nóng),扎根農(nóng)村；“文革”時期知青電影數(shù)量較少,主要借鑒樣板戲電影的創(chuàng)作經(jīng)驗而完成,旨在配合現(xiàn)實政治,宣傳階級斗爭；新時期知青題材的影視作品大量涌現(xiàn),在展露傷痕、訴說苦難的同時反思?xì)v史,宣揚(yáng)理想主義精神；后新時期一度沉寂的知青影視借懷舊風(fēng)潮再度崛起,呈現(xiàn)出多元化的藝術(shù)形態(tài),多以成功者的話語立場宣揚(yáng)“青春無悔”與劫后輝煌。上山下鄉(xiāng)的經(jīng)歷既荒廢了一代青年的大好青春也鑄就了他們的精神品格,這股極具對抗的張力也滲進(jìn)了影視創(chuàng)作之中。知青影視中最為凸顯的莫過于對“青春無悔”、理想主義的呼喚與宣揚(yáng),前者已成為評判知青歷史的話語邏輯,且與“懺悔”話題相糾纏,備受學(xué)界質(zhì)疑,后者是前者的精神底色,被界定為知青群體最高的思想境界,一筆激勵人生的寶貴的精神財富。從文化的維度來看,創(chuàng)作者始終站在城市與鄉(xiāng)村的文化夾縫當(dāng)中,以斷裂的文化態(tài)度來表現(xiàn)知青生活,導(dǎo)致知青影視中的人物長期陷入一種逃離與回歸的怪圈,以及在城鄉(xiāng)文化認(rèn)知上的矛盾態(tài)度。從歷史的維度來看,創(chuàng)作者基本采用了一種疏離歷史的創(chuàng)作態(tài)度,將知青歷史界定為苦難史,并從“心史”的角度來訴說苦難,總體懷舊有余反思不足。在知青婚戀這個歷史敏感話題的詮釋方面,呈現(xiàn)在知青影像中的情感故事多是浪漫的,美好的,雖然有遺憾但仍讓人無限懷念,總體感性有余理性不足,影像與現(xiàn)實存在明顯的錯位。在人物形象的塑造方面,為了建立自我的想象認(rèn)同,創(chuàng)作者多讓知青群體占據(jù)銀幕的中心位置,以理想自我的形象來重塑人物,因此呈現(xiàn)在知青鏡像中的人物形象多是美好的,甚至是完美無暇的,包括鄉(xiāng)村女性,她們身上寄托著創(chuàng)作者對鄉(xiāng)村的詩意想象。
[Abstract]:The film and television of educated youth refers to the work of life and emotion of educated youth after jumping in line or returning to the city. With the outbreak of the educated youth movement in the 1950s, the film and television of educated youth also appeared on the screen accordingly, and flourished after the "Cultural Revolution". Until the new century, it still lasted for a long time, and almost every year new works emerged. At present, educated youth film and television works have more than 100, but many works are not well known, and the academic research on it is not enough. From the development process, the film and television creation of educated youth is mainly divided into four stages: before the educated youth period to return to the subject matter of educated youth mainly, in order to cooperate with the official policy propaganda, mobilize the real intellectual youth to go to the countryside to work in agriculture, take root in the countryside; During the "Cultural Revolution" period, the number of educated youth films was relatively small, mainly drawing on the experience of the creation of model opera films, in order to coordinate with realistic politics and publicize class struggle; in the new period, the film and television works on the subject of educated youth appeared in large numbers, showing their scars. While recounting suffering and reflecting on history and promoting the spirit of idealism, the film and television of educated youth, which was once silent in the post-new period, rose again with nostalgia and took on a diversified artistic form. Many successful people's discourse stand to promote "youth without regret" and after the brilliant robbery. The experience of going to the countryside has not only wasted the youth of a generation of young people, but also molded their spiritual character. This extremely confrontational tension has also infiltrated into the film and television creation. In the film and television of educated youth, nothing is more prominent than "youth without regrets", the call and promotion of idealism, the former has become the discourse logic of judging the history of educated youth, and it is entangled with the topic of "repentance", which has been questioned by academic circles. The latter is the spiritual background of the former, which is defined as the highest ideological realm of the educated youth group and a valuable spiritual wealth that inspires life. From the perspective of culture, the creators always stand in the gap between urban and rural culture, with a broken cultural attitude to express the life of educated youth, resulting in the characters in the film and television of educated youth fall into a strange circle of escape and return for a long time. And in urban and rural cultural cognition of contradictory attitudes. From the perspective of history, the author basically adopts a creative attitude of alienation from history, defines the history of educated youth as the history of suffering, and tells suffering from the angle of "history of heart". In the interpretation of the sensitive topic of marriage and love among educated youth, most of the emotional stories presented in the images of educated youth are romantic and beautiful. Although they have regrets, they still make people yearn for them. In general, there is a lack of sensibility and rationality. There is obvious dislocation between image and reality. In the aspect of shaping the character image, in order to establish the self-imagination identity, the creators let the educated youth group occupy the center position of the screen, and reshape the character with the ideal self image, so it is beautiful to present the character image in the educated youth mirror image. Even perfect women, including rural women, have their poetic imaginations of the country.
【學(xué)位授予單位】：武漢大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2015
【分類號】：J905
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本文編號：2080013