新世紀(jì)內(nèi)地文藝片創(chuàng)作研究
發(fā)布時間：2018-11-26 18:25
【摘要】：從上世紀(jì)初的《孤兒救祖記》《神女》等經(jīng)典之作到改革開放后的《黃土地》《霸王別姬》等巔峰之作，內(nèi)地文藝片在中國電影100多年的歷史上繁榮發(fā)展。然而隨著市場經(jīng)濟(jì)的快速發(fā)展，電影票房的高低成為衡量電影成功與否的重要標(biāo)準(zhǔn)之一，文藝片陷入了“叫好不叫座”的尷尬處境。但是2008年陳凱歌導(dǎo)演的《梅蘭芳》、2010年張藝謀導(dǎo)演的《山楂樹之戀》、2011年滕華濤導(dǎo)演的《失戀33天》等新世紀(jì)內(nèi)地文藝片作品不但創(chuàng)造了電影史上文藝片票房“破億元”神話，還打破了“文藝片叫好不叫座”的尷尬局面，同時也引發(fā)了學(xué)術(shù)界研究內(nèi)地文藝片創(chuàng)作現(xiàn)狀、創(chuàng)作特征的熱潮。 本論文以新世紀(jì)在中國電影金雞獎、百花獎、華表獎和國外戛納、柏林、東京等電影節(jié)上獲獎的知名導(dǎo)演的心血之作、新晉導(dǎo)演的才情制作，以及藝術(shù)上未必盡善盡美但可圈可點(diǎn)的內(nèi)地文藝片作品為研究對象，從其創(chuàng)作現(xiàn)象、創(chuàng)作豐富的審美內(nèi)容、創(chuàng)作獨(dú)特的藝術(shù)手法三個角度進(jìn)行系統(tǒng)研究。 首先，本文通過介紹新世紀(jì)內(nèi)地文藝片代表性導(dǎo)演張藝謀和陳凱歌電影的寫意、王小帥和賈樟柯電影的寫實(shí)等不同的創(chuàng)作追求，以及藝術(shù)性和商業(yè)性結(jié)合的創(chuàng)作策略，簡單分析了新世紀(jì)內(nèi)地文藝片的創(chuàng)作概況。 在此基礎(chǔ)上，本文詳細(xì)分析了新世紀(jì)內(nèi)地文藝片創(chuàng)作豐富的審美內(nèi)容和獨(dú)特的藝術(shù)手法。其中，審美內(nèi)容主要是談題材和主題。題材的多元開拓主要表現(xiàn)在三點(diǎn)：愛情題材的堅(jiān)持和創(chuàng)新、家庭倫理題材的特別關(guān)注、小人物酸甜苦辣的生動展現(xiàn)；主題的深刻挖掘主要表現(xiàn)在兩點(diǎn)：復(fù)雜人性的深刻揭露和人文關(guān)懷的真切表達(dá)。創(chuàng)作獨(dú)特的藝術(shù)手法主要是從畫面色彩的個性化、電影音樂的多元化和情節(jié)結(jié)構(gòu)的多樣化三個方面詳細(xì)闡述。
[Abstract]:From the classics such as "Save the ancestors of Orphans" at the beginning of last century to "Yellow Earth" after the reform and opening to the outside world, "Farewell to my Concubine" and so on, the mainland literature and art films have flourished and developed in the history of more than 100 years of Chinese films. However, with the rapid development of market economy, the level of film box office has become one of the important criteria to measure the success of the film. However, in 2008, Chen Kaige directed "Mei Lanfang", and in 2010, "the Love of the Hawthorn Tree," directed by Zhang Yimou, In 2011, Teng Huatao's "33 days of broken Love" and other literary and artistic works in the new century not only created the myth of "breaking the hundred million yuan" at the box office of literary and artistic films in the history of film, but also broke the awkward situation of "literary films won't be popular." At the same time, it also triggered the academic research on the mainland literary film creation status quo, creative characteristics of the upsurge. This thesis is based on the work of famous directors who won awards at the Golden Rooster Awards, hundred Flowers Awards, International Film Awards in the New Century, Cannes, Berlin, Tokyo and other foreign film festivals, and the talent production of new directors. And the works of mainland literature and art which may not be perfect in art are studied systematically from three angles: the phenomenon of creation, the rich aesthetic content and the unique artistic technique. First of all, this paper introduces the freehand brushwork of the representative directors Zhang Yimou and Chen Kaige, the realistic pursuit of Wang Xiaoshuai and Jia Zhangke's films, and the creative strategies of artistic and commercial combination. This paper briefly analyzes the general situation of the creation of literary and artistic films in the interior of the new century. On this basis, this paper analyzes the rich aesthetic content and unique artistic techniques of literary and artistic film creation in the new century. Among them, aesthetic content mainly talks about subject matter and theme. The pluralistic development of the theme is mainly manifested in three aspects: the persistence and innovation of the love theme, the special attention of the family ethics theme, and the vivid display of the joys and sorrows of the little people; The deep excavation of the theme is mainly manifested in two aspects: the deep revelation of complex human nature and the true expression of humanistic concern. The unique artistic techniques are mainly elaborated from three aspects: the individuation of screen color, the diversification of film music and the diversification of plot structure.
【學(xué)位授予單位】：湖南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J904
本文編號：2359289
[Abstract]:From the classics such as "Save the ancestors of Orphans" at the beginning of last century to "Yellow Earth" after the reform and opening to the outside world, "Farewell to my Concubine" and so on, the mainland literature and art films have flourished and developed in the history of more than 100 years of Chinese films. However, with the rapid development of market economy, the level of film box office has become one of the important criteria to measure the success of the film. However, in 2008, Chen Kaige directed "Mei Lanfang", and in 2010, "the Love of the Hawthorn Tree," directed by Zhang Yimou, In 2011, Teng Huatao's "33 days of broken Love" and other literary and artistic works in the new century not only created the myth of "breaking the hundred million yuan" at the box office of literary and artistic films in the history of film, but also broke the awkward situation of "literary films won't be popular." At the same time, it also triggered the academic research on the mainland literary film creation status quo, creative characteristics of the upsurge. This thesis is based on the work of famous directors who won awards at the Golden Rooster Awards, hundred Flowers Awards, International Film Awards in the New Century, Cannes, Berlin, Tokyo and other foreign film festivals, and the talent production of new directors. And the works of mainland literature and art which may not be perfect in art are studied systematically from three angles: the phenomenon of creation, the rich aesthetic content and the unique artistic technique. First of all, this paper introduces the freehand brushwork of the representative directors Zhang Yimou and Chen Kaige, the realistic pursuit of Wang Xiaoshuai and Jia Zhangke's films, and the creative strategies of artistic and commercial combination. This paper briefly analyzes the general situation of the creation of literary and artistic films in the interior of the new century. On this basis, this paper analyzes the rich aesthetic content and unique artistic techniques of literary and artistic film creation in the new century. Among them, aesthetic content mainly talks about subject matter and theme. The pluralistic development of the theme is mainly manifested in three aspects: the persistence and innovation of the love theme, the special attention of the family ethics theme, and the vivid display of the joys and sorrows of the little people; The deep excavation of the theme is mainly manifested in two aspects: the deep revelation of complex human nature and the true expression of humanistic concern. The unique artistic techniques are mainly elaborated from three aspects: the individuation of screen color, the diversification of film music and the diversification of plot structure.
【學(xué)位授予單位】：湖南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J904
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