論中國電影中的孫悟空形象
發(fā)布時間：2018-12-15 05:39
【摘要】：基于華夏文明的傳統(tǒng),“猴”作為字、作為圖騰在歷史長河中積淀生成了深厚的生物性和文化性韻味。明代吳承恩創(chuàng)作的《西游記》中孫悟空作為主要人物之一承載著傳統(tǒng)社會的精神內核,為中國讀者所喜愛�？煽嫉膶O悟空銀幕形象源自于1927年的電影《盤絲洞》,隨著科學技術的精進和電影產業(yè)的博興,孫悟空形象作為經典IP迸發(fā)出強勁的藝術張力,再度成為當下的銀幕熱點。第一章從猴文化著手探析孫悟空形象產生的歷史及文化淵源,并分析長篇小說《西游記》中的孫悟空形象。第二章按電影創(chuàng)作熱潮將研究對象劃分為四個階段:20世紀20年代,“孫悟空”形象首觸熒屏,引發(fā)“武俠神怪片”熱潮;20世紀40至60年代,多是富有民族特色的動畫電影和戲曲片,孫悟空在特定時代背景下充當文化武器,表現為教化的特質;20世紀90年代,以《大話西游》為標志,開始對孫悟空形象進行后現代化顛覆性創(chuàng)造,成為標識大眾文化轉向的風向標;2013年至今,以《西游·降魔篇》《西游·伏妖篇》為代表,延續(xù)著對孫悟空形象的多元化創(chuàng)造,將人性的搖擺與佛性的皈依統(tǒng)一于一體。第三章和第四章是對于第二章中三、四節(jié)的深入探討。第三章以“大話”篇(《大話西游之月光寶盒》《大話西游之大圣娶親》《大話西游3》)中的孫悟空形象作為主要研究對象,對形象塑造、敘事策略展開論述。第四章以“西游”篇(《西游·降魔篇》《西游·伏妖篇》)中的孫悟空形象作為探究主體,分析其暗黑影像風格和對傳統(tǒng)價值的重構主題。第五章采用比較的方法,通過與美、日、韓三國電影中孫悟空形象的比較,更清晰地突顯中國電影中孫悟空形象與社會變遷、文化轉型、思想變革的對位關系。在當前中國電影IP產業(yè)鏈生產和供給側內容改革的關鍵時期,本文的研究具有重要的現實實踐意義。
[Abstract]:Based on the tradition of Chinese civilization, "monkey" as a word, as a totem in the history of the accumulation of profound biological and cultural charm. Sun Wukong as one of the main characters in Wu Chengen's Journey to the West in Ming Dynasty bears the spiritual core of traditional society and is loved by Chinese readers. The audible screen image of Sun Wukong originates from the 1927 film "Pan Silk Cave". With the development of science and technology and the development of film industry, Sun Wukong's image, as a classic IP, burst out strong artistic tension and become the current hot spot of screen again. The first chapter analyzes the historical and cultural origin of Sun Wukong's image from monkey culture, and analyzes the image of Sun Wukong in the novel Journey to the West. The second chapter divides the research object into four stages according to the movie creation upsurge: in the 1920s, the image of "Sun Wukong" first touched the screen, causing the "martial arts genie movie" upsurge; From the 1940s to 1960s, most of them were animated films and opera films with national characteristics. Sun Wukong acted as a cultural weapon under the background of a specific era, which was characterized by enlightenment. In the 1990s, with A Chinese Odyssey as the symbol, the image of Sun Wukong began to be subversive after modernization, and became the vane to mark the turning of popular culture. Since 2013, represented by the part of "traveling to the West", the part of "the Witchen in the West" continues the pluralistic creation of Sun Wukong's image and unifies the swing of human nature and the conversion of Buddha nature. The third and fourth chapters are the deep discussion of the third and fourth sections of the second chapter. The third chapter focuses on the image of A Chinese Odyssey in "the Box of the Moonlight of A Chinese Odyssey" ("the Box of the Moonlight of A Chinese Odyssey") and "the Great Sage of A Chinese Odyssey" (3), and discusses the shaping of the image and the strategy of narration. In the fourth chapter, the author analyzes the image of Sun Wukong in the part of "traveling to the West" (the part of falling Demons in the West) and the theme of reconstructing the traditional value. The fifth chapter adopts the comparative method, through the comparison with Sun Wukong's image in the American, Japanese and Korean films, more clearly highlights the corresponding relationship between the image of Sun Wukong and social changes, cultural transformation and ideological change in Chinese films. In the key period of production and supply-side content reform of China's film IP industry chain, the research of this paper has important practical significance.
【學位授予單位】：山東藝術學院
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J905
本文編號：2380079
[Abstract]:Based on the tradition of Chinese civilization, "monkey" as a word, as a totem in the history of the accumulation of profound biological and cultural charm. Sun Wukong as one of the main characters in Wu Chengen's Journey to the West in Ming Dynasty bears the spiritual core of traditional society and is loved by Chinese readers. The audible screen image of Sun Wukong originates from the 1927 film "Pan Silk Cave". With the development of science and technology and the development of film industry, Sun Wukong's image, as a classic IP, burst out strong artistic tension and become the current hot spot of screen again. The first chapter analyzes the historical and cultural origin of Sun Wukong's image from monkey culture, and analyzes the image of Sun Wukong in the novel Journey to the West. The second chapter divides the research object into four stages according to the movie creation upsurge: in the 1920s, the image of "Sun Wukong" first touched the screen, causing the "martial arts genie movie" upsurge; From the 1940s to 1960s, most of them were animated films and opera films with national characteristics. Sun Wukong acted as a cultural weapon under the background of a specific era, which was characterized by enlightenment. In the 1990s, with A Chinese Odyssey as the symbol, the image of Sun Wukong began to be subversive after modernization, and became the vane to mark the turning of popular culture. Since 2013, represented by the part of "traveling to the West", the part of "the Witchen in the West" continues the pluralistic creation of Sun Wukong's image and unifies the swing of human nature and the conversion of Buddha nature. The third and fourth chapters are the deep discussion of the third and fourth sections of the second chapter. The third chapter focuses on the image of A Chinese Odyssey in "the Box of the Moonlight of A Chinese Odyssey" ("the Box of the Moonlight of A Chinese Odyssey") and "the Great Sage of A Chinese Odyssey" (3), and discusses the shaping of the image and the strategy of narration. In the fourth chapter, the author analyzes the image of Sun Wukong in the part of "traveling to the West" (the part of falling Demons in the West) and the theme of reconstructing the traditional value. The fifth chapter adopts the comparative method, through the comparison with Sun Wukong's image in the American, Japanese and Korean films, more clearly highlights the corresponding relationship between the image of Sun Wukong and social changes, cultural transformation and ideological change in Chinese films. In the key period of production and supply-side content reform of China's film IP industry chain, the research of this paper has important practical significance.
【學位授予單位】：山東藝術學院
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J905
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