發(fā)布時(shí)間：2018-07-03 00:44

  本文選題：掙扎 + 顛覆　； 參考：《河南師范大學(xué)》2015年碩士論文

【摘要】：在中國電影史上第六代導(dǎo)演群體是一個(gè)獨(dú)特的存在,他們既不同于第五代宏大歷史背景下厚重的歷史責(zé)任感敘事,又沒有整體劃一的東方式美學(xué)風(fēng)格審美和強(qiáng)烈的視覺色彩沖突。他們是在開放的環(huán)境中自由成長起來的一類人,受到后現(xiàn)代主義文化交替融合的影響,對(duì)于電影敘事的表達(dá)有著自己獨(dú)特的視角,對(duì)于社會(huì)群體生命的感悟有著深刻的體驗(yàn),在文化基礎(chǔ)和畫面的表現(xiàn)有著更系統(tǒng)的知識(shí)儲(chǔ)備和基本素養(yǎng)。他們拒絕在主流文化意識(shí)形態(tài)中去循規(guī)蹈矩,以一種特立獨(dú)行的“他者”姿態(tài)被用來補(bǔ)充西方自由主義知識(shí)分子對(duì)于東方文化的預(yù)期討論,以一種放逐式的自由來客觀表現(xiàn)轉(zhuǎn)型期邊緣群體的生存狀態(tài),試圖在第五代的榮耀和光環(huán)下實(shí)現(xiàn)自己的青春突圍。這些使得他們?cè)谥袊�電影�?chǎng)中成為了一個(gè)獨(dú)特的存在和特定的文化現(xiàn)象,這個(gè)群體不再是以往的以共時(shí)存在而劃分的群體,更多的是以一種共有的存在出現(xiàn)的群體,他們?cè)谂涯婧蛼暝�中�?dú)立,在狂歡和靜默中注視,在嗜血的疼痛和陰影下的渴望被關(guān)注中默默悲哀。在當(dāng)今復(fù)雜多變的電影文化市場(chǎng)中,他們能否以群體的姿態(tài)在獲得海外市場(chǎng)關(guān)注的背景下,繼續(xù)穩(wěn)步實(shí)現(xiàn)國內(nèi)市場(chǎng)的突圍,能否在商業(yè)文化和大眾的選擇中實(shí)現(xiàn)突圍?同時(shí)在先鋒的道路上形成自己獨(dú)特的鏡像符號(hào),是一個(gè)值得我們不斷思考的問題。
[Abstract]:The sixth generation of directors is a unique existence in the history of Chinese film. They are different from the heavy historical responsibility narration under the grand historical background of the fifth generation. There is no unified eastern aesthetic style aesthetic and strong visual color conflict. They are a kind of people who grow up freely in an open environment, influenced by the alternation of postmodernism culture, they have their own unique angle of view on the expression of film narration, and they have a profound experience of the life of social groups. In the cultural basis and the performance of the picture has a more systematic knowledge and basic literacy. Refusing to follow the rules in mainstream cultural ideology, they are being used as a maverick "other" to complement the Western liberal intellectual's expected discussion of Oriental culture. This paper presents objectively the living state of the marginal groups in the transition period with a kind of exile freedom, and tries to realize his own youth breakthrough under the glory and aura of the fifth generation. These make them become a unique existence and a specific cultural phenomenon in the Chinese film field. This group is no longer the former group divided by co-existence, but more as a group that appears as a common being. They are independent in rebellion and struggle, gazed at in carnival and silence, mourned silently in the attention of yearning under the pain and shadow of bloodlust. In today's complex and changeable film culture market, can they continue to achieve the breakthrough in the domestic market and the choice of the commercial culture and the public under the background of obtaining the attention of the overseas market in a group attitude? At the same time, forming its own unique image symbol on the road of pioneer is a problem that we should constantly think about.
【學(xué)位授予單位】：河南師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：J905

【參考文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 郭瑾璀;中國當(dāng)代方言影視劇的審美研究[D];南京師范大學(xué);2011年

，

本文編號(hào)：2091613