【摘要】：電影是一種在表現(xiàn)視覺形象時(shí)具有獨(dú)特優(yōu)勢的大眾傳播媒介,可以將抽象的精神世界轉(zhuǎn)化為直接可見的視覺符號。這一特點(diǎn)在講述“雙子角色”的故事時(shí)無疑使電影具有了更靈活的敘事方式和更具感染力的藝術(shù)表達(dá),這是論文立論的基礎(chǔ),也是第一章的主要內(nèi)容。接下來的內(nèi)容構(gòu)成論文的第二板塊,展開對“雙子角色”現(xiàn)象的具體論述和深入剖析。本文對雙子角色的界定如下:影片出有兩個(gè)外形高度相似的角色,從生理層面、科技層面和精神層面分為雙胞胎、克隆人和靈魂伴侶三種類型,并分別在第二、三、四章中加以論述。電影中的雙胞胎形象通常具有完全相反的個(gè)性特征,產(chǎn)生了和諧互補(bǔ)和對抗斗爭兩個(gè)分支。和諧互補(bǔ)的雙胞胎形象是人們對雙胞胎理想關(guān)系模式的想象,寄托了人們追求和諧圓滿的心理。而在大多數(shù)影片中,雙胞胎之間的關(guān)系都并非完全平等,通過探討兩者如何在一對關(guān)系中尋求最佳平衡,映射出的是個(gè)體與自我的關(guān)系和個(gè)體與外界環(huán)境之間的關(guān)系。在克隆人題材的電影中,外表的相似性是個(gè)體喪失獨(dú)特性的外在表征。一個(gè)自我鏡像的出現(xiàn)既是克隆人自我認(rèn)知和獲得身份的障礙,又是自然人類極度自戀和迷失自我的象征,旨在探討克隆人技術(shù)可能導(dǎo)致的身份和倫理混亂,揭示人類迷戀自我復(fù)制的心理根源,將一種尚未發(fā)生的災(zāi)難具象為角色間的矛盾沖突,利用電影手段指導(dǎo)人們走出濫用技術(shù)的深淵�！办`魂伴侶”是電影中一種比較特殊的角色關(guān)系。不同于雙胞胎和克隆人,此類人物形象不符合現(xiàn)實(shí)邏輯,完全是導(dǎo)演的藝術(shù)創(chuàng)造。這類形象在保持肉體唯一性的同時(shí)擁有了一個(gè)在精神上的相互呼應(yīng)的對象,重在表現(xiàn)情感的共鳴和靈魂的契合。兩個(gè)角色在找尋自己的“另一重生命”的過程中發(fā)掘著自身的個(gè)體意識,在對方身上折射出一種發(fā)現(xiàn)理想自我、擺脫孤獨(dú)宿命的希望。然而最終總是與對方失之交臂,透露出了孤獨(dú)的難以擺脫和尋找自我的永無止境�！半p子角色”現(xiàn)象在電影中的存在和不斷豐富,正是出于電影的創(chuàng)作者們對人類內(nèi)心世界的關(guān)注。這些電影作品不僅由于人物設(shè)置的特殊性而頗有新意,而且導(dǎo)演通常有意將外在形態(tài)完全一致的兩個(gè)人物作為極端的對立來設(shè)置,彼此通過對方重新認(rèn)知和建構(gòu)自身,協(xié)調(diào)個(gè)體內(nèi)在的自我關(guān)系和自我與環(huán)境的關(guān)系,體現(xiàn)帶有哲學(xué)審思的自我審視——人的主體性追尋和客體性焦慮。而這種對人類精神和靈魂世界探察的深度也同時(shí)夯實(shí)和提升著電影作為一門獨(dú)立藝術(shù)在藝術(shù)大家庭中的地位,踐行著藝術(shù)的本質(zhì)。
[Abstract]:Film is a kind of mass media with unique advantages in the performance of visual image, which can transform the abstract spiritual world into a visual symbol that can be seen directly. This feature undoubtedly makes the film have a more flexible narrative mode and more infectious artistic expression when telling the story of "Gemini characters", which is the basis of the thesis and the main content of the first chapter. The following contents constitute the second section of the thesis, and discuss and analyze the phenomenon of "Gemini role" in detail. The definition of Gemini characters in this paper is as follows: the film has two highly similar characters, which are divided into three types: twins, clones and soul mates from the physiological, scientific and spiritual levels, and in the second and third, respectively. It is discussed in four chapters. The images of twins in movies usually have completely opposite personality characteristics, producing two branches of harmony and complementarity and confrontation and struggle. The image of harmonious and complementary twins is people's imagination of the ideal relationship model of twins, which assigns people's psychology of pursuing harmony and perfection. In most films, the relationship between twins is not completely equal. By exploring how to find the best balance in a pair of relationships, the relationship between individual and self and between individual and external environment is reflected. In a clone-themed film, the similarity of appearance is an external representation of individual loss of uniqueness. The emergence of a self-mirror image is both an obstacle to self-recognition and identity acquisition of human cloning and a symbol of extreme narcissism and loss of self in natural humans, with a view to exploring the possible confusion of identity and ethics resulting from cloning techniques. It reveals the psychological root of human infatuation with self-replication, turns a disaster that has not yet occurred into a conflict between roles, and uses film means to guide people out of the abyss of abusing technology. Soul mate is a kind of special character relationship in the movie. Unlike twins and clones, this kind of character is not logical and is entirely the artistic creation of the director. While maintaining the physical uniqueness, this kind of image has an object of mutual echo in spirit, focusing on the expression of emotional resonance and soul fit. In the process of finding their own "another life", the two characters discover their own individual consciousness and reflect a hope of finding their ideal self and getting rid of their fate. But in the end, they always miss each other, revealing the loneliness and the endless search for self. The existence and enrichment of the "Gemini" phenomenon in the film is due to the attention paid by the creators to the inner world of human beings. These films are not only novel because of the particularity of the character setting, but also the director usually intends to set up two characters whose external forms are completely identical as extreme opposites, so that they can re-recognize and construct themselves through the other side. In order to coordinate the internal self-relationship and the self-environment relationship of individual, the self-examination with philosophical thinking is embodied, that is, the subjective pursuit of human beings and the object anxiety. At the same time, the depth of exploring the world of human spirit and soul is also ramming and enhancing the position of film as an independent art in the art family, and practicing the essence of art.
【學(xué)位授予單位】：山東藝術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J904

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