賈樟柯電影敘事倫理研究
發(fā)布時間：2018-12-15 12:56
【摘要】：賈樟柯，第六代導演的領軍人物，他的電影自問世時，便以其獨特的題材、視點和創(chuàng)作方法等，引起了國內(nèi)外電影界的關注。作為20世紀90年代電影界的新起之秀，賈樟柯用膠片記錄著變遷中的中國，以其獨特的創(chuàng)作特色，構建了迥異于傳統(tǒng)的宏大敘事的個人小敘事，以獨特的創(chuàng)作視角真實客觀的展現(xiàn)了中國現(xiàn)代化進程中的底層邊緣人物的生存境遇，占領世界影視的一隅。其電影被認為是：“傳遞著最為真切的生命體驗，在表現(xiàn)新時期個體與環(huán)境的強烈沖突中，始終冷靜客觀地關注著最底層人民的生存狀態(tài)。”本文主要是對其影片進行敘事倫理層面的分析，從賈樟柯電影的敘事空間、敘事視角以及敘事手法的運用等方面出發(fā)，分析其電影表現(xiàn)出怎樣的道德情操和道德悲憫。 本論文主要由六部分組成：第一部分是緒論，主要論述了賈樟柯的電影，其影片在國內(nèi)外所獲得的獎項，賈樟柯影片中的敘事和敘事倫理概念的來源。第二部分是賈樟柯電影敘事空間與敘事倫理，電影是一種視覺藝術，空間呈現(xiàn)是電影藝術中不可或缺的重要組成部分，本章對賈樟柯電影所呈現(xiàn)的敘事空間進行分類，進而分析從這些空間中呈現(xiàn)出的敘事倫理。第三部分是流行音樂與敘事反諷，流行歌曲在賈樟柯的影片中多次出現(xiàn)，其功能是多種多樣的，除了推動劇情的發(fā)展、表達主人公的心理情感之外，還具有敘事層面上的反諷功能。第四部分是人物命運與道德悲憫，本章對賈樟柯影片中的各類人物進行分析，例如故鄉(xiāng)的邊緣人、城市的漂泊者、城市的下崗工人和女性形象等，通過把這些人物置于各個不同的道德語境中，使其做出倫理選擇和價值判斷，，進而分析其電影表達出的道德悲憫。第五部分是底層敘事與個體自由敘事倫理，本章從賈樟柯電影的敘事視角出發(fā)，分析他選擇底層敘事的原因，以及其影片對愛的倫理追求和對底層人物的人文關懷。第六部分是結語，“雙重拒絕”與電影敘事倫理危機，通過對布迪厄場域理論的分析，闡述了電影敘事倫理面臨的危機。
[Abstract]:Jia Zhangke, the leading figure of the sixth generation director, has attracted the attention of the domestic and foreign film circles with his unique themes, viewpoints and creative methods since his film came out. As a new star in the film industry in the 1990s, Jia Zhangke used film to record the changing China. With his unique creative characteristics, Jia Zhangke constructed a small personal narrative, which is totally different from the traditional grand narrative. The unique visual angle of creation shows the living conditions of the underclass marginal characters in the process of Chinese modernization and occupies a corner of the world film and television. Its film is regarded as: "transmit the most real life experience, in the performance of the new era of the strong conflict between the individual and the environment, always calmly and objectively pay attention to the survival of the people at the bottom of the state." This paper mainly analyzes the narrative ethics of Jia Zhangke's films, starting from the narrative space, narrative perspective and the use of narrative techniques, analyzes the moral sentiment and moral compassion of Jia Zhangke's films. This thesis is composed of six parts: the first part is the introduction, mainly discusses Jia Zhangke's films, the awards of his films at home and abroad, and the source of narrative and narrative ethical concepts in Jia Zhangke's films. The second part is Jia Zhangke film narrative space and narrative ethics, film is a visual art, space presentation is an indispensable part of film art, this chapter classifies the narrative space presented by Jia Zhangke film. Then it analyzes the narrative ethics presented from these spaces. The third part is popular music and narrative irony. Pop songs appear many times in Jia Zhangke's films. Their functions are varied, except to promote the development of the plot and to express the psychological feelings of the protagonists. It also has the function of irony in narrative level. The fourth part is the fate of the characters and moral compassion. This chapter analyzes all kinds of characters in Jia Zhangke's films, such as the marginal people of hometown, the vagrants of the city, the laid-off workers and the female images of the city, etc. By placing these characters in different moral contexts and making them make ethical choices and value judgments, the moral compassion expressed in their films is analyzed. The fifth part is the bottom narrative and individual free narrative ethics, this chapter from the narrative perspective of Jia Zhangke film, analysis of the reasons for his choice of the bottom narrative, as well as his film's ethical pursuit of love and humanistic concern for the bottom characters. The sixth part is the conclusion, "double rejection" and the crisis of film narrative ethics. Through the analysis of Bourdieu's field theory, this paper expounds the crisis that film narrative ethics faces.
【學位授予單位】：河南大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J911
本文編號：2380667
[Abstract]:Jia Zhangke, the leading figure of the sixth generation director, has attracted the attention of the domestic and foreign film circles with his unique themes, viewpoints and creative methods since his film came out. As a new star in the film industry in the 1990s, Jia Zhangke used film to record the changing China. With his unique creative characteristics, Jia Zhangke constructed a small personal narrative, which is totally different from the traditional grand narrative. The unique visual angle of creation shows the living conditions of the underclass marginal characters in the process of Chinese modernization and occupies a corner of the world film and television. Its film is regarded as: "transmit the most real life experience, in the performance of the new era of the strong conflict between the individual and the environment, always calmly and objectively pay attention to the survival of the people at the bottom of the state." This paper mainly analyzes the narrative ethics of Jia Zhangke's films, starting from the narrative space, narrative perspective and the use of narrative techniques, analyzes the moral sentiment and moral compassion of Jia Zhangke's films. This thesis is composed of six parts: the first part is the introduction, mainly discusses Jia Zhangke's films, the awards of his films at home and abroad, and the source of narrative and narrative ethical concepts in Jia Zhangke's films. The second part is Jia Zhangke film narrative space and narrative ethics, film is a visual art, space presentation is an indispensable part of film art, this chapter classifies the narrative space presented by Jia Zhangke film. Then it analyzes the narrative ethics presented from these spaces. The third part is popular music and narrative irony. Pop songs appear many times in Jia Zhangke's films. Their functions are varied, except to promote the development of the plot and to express the psychological feelings of the protagonists. It also has the function of irony in narrative level. The fourth part is the fate of the characters and moral compassion. This chapter analyzes all kinds of characters in Jia Zhangke's films, such as the marginal people of hometown, the vagrants of the city, the laid-off workers and the female images of the city, etc. By placing these characters in different moral contexts and making them make ethical choices and value judgments, the moral compassion expressed in their films is analyzed. The fifth part is the bottom narrative and individual free narrative ethics, this chapter from the narrative perspective of Jia Zhangke film, analysis of the reasons for his choice of the bottom narrative, as well as his film's ethical pursuit of love and humanistic concern for the bottom characters. The sixth part is the conclusion, "double rejection" and the crisis of film narrative ethics. Through the analysis of Bourdieu's field theory, this paper expounds the crisis that film narrative ethics faces.
【學位授予單位】：河南大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J911
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