新世紀(jì)以來中國反法西斯題材電影研究
發(fā)布時(shí)間：2018-12-13 15:20
【摘要】：2015年8月15日是世界反法西斯戰(zhàn)爭(zhēng)勝利70周年,暨中國抗日戰(zhàn)爭(zhēng)勝利70周年紀(jì)念日,中國是最早卷入這場(chǎng)戰(zhàn)爭(zhēng)的國家,抗戰(zhàn)14年,傷亡人數(shù)高達(dá)3500多萬,日本法西斯戰(zhàn)爭(zhēng)給中國人民造成的災(zāi)難罄竹難書,所犯下的罪行不可饒恕。新世紀(jì)以來,中國反法西斯題材電影的創(chuàng)作,在之前抗日題材電影基礎(chǔ)之上,由較為單純的“侵略與反侵略”、“外敵入侵與家國復(fù)仇”等簡(jiǎn)單的二元對(duì)立的主體書寫,逐漸過渡到全人類在法西斯戰(zhàn)爭(zhēng)之下,喪失生命、失去自由與尊嚴(yán)、以及對(duì)法西斯本身反人道的批判與反思緯度上,這一巨大轉(zhuǎn)變?cè)谥袊娪笆飞暇哂兄匾绊?它是伴隨著新的政治經(jīng)濟(jì)環(huán)境和國際反法西斯要求而發(fā)展起來的,涌現(xiàn)出了一部分優(yōu)秀作品。在整體創(chuàng)作上,雖數(shù)量不多,但在主題開掘、人物塑造、影像風(fēng)格等角度與之前抗日題材電影相比有較大的突破。隨著抗日題材電影創(chuàng)作的不斷轉(zhuǎn)型和創(chuàng)新,部分作品如《葵花劫》《五月八月》《東京審判》《南京!南京!》《金陵十三釵》《賽德克·巴萊》等影片,都產(chǎn)生了強(qiáng)烈的影響。本文基于前人研究成果的基礎(chǔ)上,在綜合近15年來相關(guān)抗日題材電影拍攝思路呈現(xiàn)的主要特點(diǎn)、中國在國際反法西斯同盟中重要地位的日益提升以及進(jìn)入新世紀(jì)以來“反法西斯題材電影”概念的頻繁使用等原因下,梳理新世紀(jì)以來“反法西斯題材電影”的發(fā)展,重點(diǎn)考察、總結(jié)在新的世界政治環(huán)境中,中國“反法西斯題材電影”創(chuàng)作背景及概況、創(chuàng)作特征、創(chuàng)作局限及創(chuàng)作啟示。同時(shí)需要略作說明的是,鑒于“反法西斯題材電影”概念范疇較大,本論文所指的“中國反法西斯題材電影”僅從戰(zhàn)爭(zhēng)層面上解讀抗日題材電影在創(chuàng)作中所體現(xiàn)的反思法西斯戰(zhàn)爭(zhēng)的電影。在空間上,本文的“中國”主要是指中國大陸,但是鑒于臺(tái)灣電影《賽德克·巴萊》引起了巨大反響并取得了巨大成功的原因,在本論文中也稍作論述。香港和澳門則暫時(shí)闕如。
[Abstract]:August 15, 2015 marks the 70th anniversary of the victory of the world's anti-fascist war and the 70th anniversary of the victory of China's anti-Japanese war. China was the first country to get involved in this war. In the 14 years of the War of Resistance against Japan, the number of casualties reached more than 35 million. The Japanese fascist war caused untold suffering to the Chinese people and the crimes committed were unforgivable. Since the new century, the creation of Chinese anti-fascist films has been written on the basis of the previous anti-Japanese films by simple dualistic subjects such as "aggression and anti-aggression", "invasion of foreign enemies and revenge of the country" and so on. Gradually, the whole human race lost their lives, lost their freedom and dignity under the fascist war, and criticized and reflected on the fascism itself. This tremendous change had an important impact in the history of Chinese cinema. It developed with the new political and economic environment and international anti-fascist demands, and some excellent works emerged. In the whole creation, although the quantity is not many, but in the theme excavation, the character shaping, the image style and so on angle and so on the anti-Japanese theme movie has the big breakthrough. With the constant transformation and innovation in the creation of anti-Japanese films, some works such as "Sunflower robbery", "August of May", "Tokyo trial", "Nanjing"! Nanking! > the thirteen-hairpin of Jinling, Seedke Balai, etc., all had a strong influence. Based on the previous research results, this paper synthesizes the main characteristics of the relevant anti-Japanese films in the past 15 years. With the increasing importance of China in the international anti-fascist alliance and the frequent use of the concept of "anti-fascist film" since the beginning of the new century, the development of "anti-fascist theme film" since the new century has been combed. In the new world political environment, the background and general situation, characteristics, limitations and inspiration of the creation of anti-fascist films in China are summarized. At the same time, it is worth noting that, given the broad concept of "anti-fascist films", This paper refers to the Chinese anti-fascist film, which only interprets the anti-Japanese films reflected in the creation of anti-Japanese films from the war level. In space, "China" in this paper mainly refers to the mainland of China, but in view of the reason that the Taiwan film "Sedke Balai" has caused a huge response and has achieved great success, it is also discussed in this paper. Hong Kong and Macao are temporarily absent.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J905
本文編號(hào)：2376756
[Abstract]:August 15, 2015 marks the 70th anniversary of the victory of the world's anti-fascist war and the 70th anniversary of the victory of China's anti-Japanese war. China was the first country to get involved in this war. In the 14 years of the War of Resistance against Japan, the number of casualties reached more than 35 million. The Japanese fascist war caused untold suffering to the Chinese people and the crimes committed were unforgivable. Since the new century, the creation of Chinese anti-fascist films has been written on the basis of the previous anti-Japanese films by simple dualistic subjects such as "aggression and anti-aggression", "invasion of foreign enemies and revenge of the country" and so on. Gradually, the whole human race lost their lives, lost their freedom and dignity under the fascist war, and criticized and reflected on the fascism itself. This tremendous change had an important impact in the history of Chinese cinema. It developed with the new political and economic environment and international anti-fascist demands, and some excellent works emerged. In the whole creation, although the quantity is not many, but in the theme excavation, the character shaping, the image style and so on angle and so on the anti-Japanese theme movie has the big breakthrough. With the constant transformation and innovation in the creation of anti-Japanese films, some works such as "Sunflower robbery", "August of May", "Tokyo trial", "Nanjing"! Nanking! > the thirteen-hairpin of Jinling, Seedke Balai, etc., all had a strong influence. Based on the previous research results, this paper synthesizes the main characteristics of the relevant anti-Japanese films in the past 15 years. With the increasing importance of China in the international anti-fascist alliance and the frequent use of the concept of "anti-fascist film" since the beginning of the new century, the development of "anti-fascist theme film" since the new century has been combed. In the new world political environment, the background and general situation, characteristics, limitations and inspiration of the creation of anti-fascist films in China are summarized. At the same time, it is worth noting that, given the broad concept of "anti-fascist films", This paper refers to the Chinese anti-fascist film, which only interprets the anti-Japanese films reflected in the creation of anti-Japanese films from the war level. In space, "China" in this paper mainly refers to the mainland of China, but in view of the reason that the Taiwan film "Sedke Balai" has caused a huge response and has achieved great success, it is also discussed in this paper. Hong Kong and Macao are temporarily absent.
【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J905
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，本文編號(hào)：2376756
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