從“太陽族”到“無賴派”—日本戰(zhàn)后電影菊與刀格局
發(fā)布時間：2018-12-26 12:25
【摘要】：論文緣起電影學家齊格弗里德·克拉考爾在《從卡里加利到希特勒》一書中的一句話：“一旦發(fā)生劇烈的政治變革，某些集體習性便會集攢動量。政治體制的瓦解導致心理系統(tǒng)的崩潰，在隨之而來的騷亂中，傳統(tǒng)的內(nèi)部心態(tài)獲得松綁，無論是遭遇反對或是得到認可，它們必定會引人注目。” 這句話揭示了一種文化現(xiàn)象，即在一次重大的政治和社會變革之后，由于這種變革所帶來的新興文化思潮，對固有的傳統(tǒng)文化進行了深刻的反思與強烈的批判，并企圖顛覆現(xiàn)有的文化結構，從而構建一套全新的文化體系。正是在這種新舊思想激烈的碰撞和文化體系此消彼長的演替過程中，各種文化形態(tài)和文藝作品也井噴一般的繁榮起來。 文章通過對日本二戰(zhàn)后電影發(fā)展的研究，揭示出日本戰(zhàn)后的文化發(fā)展的趨勢，也就是兩種截然相反的新興文化并駕齊驅(qū)的現(xiàn)象，即“太陽族”和“無賴派”。將這兩種新興文化思潮的內(nèi)涵比較來看，其分別代表了構成日本傳統(tǒng)文化內(nèi)核的兩個方面，也就是美國學者魯思·本尼迪克特在上個世紀40年代提出的“刀”與“菊”，也就是“武士道精神”和“天皇制思想”。 所謂“太陽族”，源于日本戰(zhàn)后年輕的作家石原慎太郎的一部小說《太陽的季節(jié)》，小說內(nèi)容充斥著暴力和色情，與之前日本的傳統(tǒng)文化截然不同。小說風靡一時，并被改編成電影，徹底改變了日本戰(zhàn)后電影的發(fā)展方向。作品中昂揚向上的尚武精神正是是“武士道精神”的代表。 所謂“無賴派”，出自作家坂口安吾在雜志上發(fā)表的一篇論文《墮落論》。他認為，人應該在正確的道路上墮落到底，然后向社會妥協(xié)，墮落的生存下去。這種思想在當時一度引起熱議，影響了后來日本一大批的電影導演，一度成為了20世紀70年代時日本情色電影的主流思想內(nèi)涵。作品中內(nèi)斂、隱忍的精神則是“天皇制思想”的寫照。 文章以二戰(zhàn)后的日本電影的發(fā)展作為切入點，通過對“太陽族電影”與“無賴派電影”的興起和衰落的研究，，繼而分析這兩類電影在日本戰(zhàn)后興起和衰落的文化原因和社會原因，進一步論述了這兩類電影在日本戰(zhàn)后文化發(fā)展和社會進程中所起到的作用，并從中總結出戰(zhàn)后文化繁榮的兩大發(fā)展方向——進與退。
[Abstract]:The paper stems from a quote by film-maker Siegfried Krakall in "from Calgary to Hitler": "in the event of drastic political change, certain collective habits accumulate momentum." The breakdown of the political system leads to the collapse of the psychological system, and in the ensuing riots, the traditional internal mentality is loosened, whether it is opposed or recognized, they will certainly attract attention. " This sentence reveals a cultural phenomenon, that is, after a major political and social change, the new cultural trends brought about by this change have made a profound reflection on and a strong critique of the inherent traditional culture. And attempts to subvert the existing cultural structure, thus building a new cultural system. It is in the fierce collision of new and old ideas and the succession of cultural systems that all kinds of cultural forms and literary works have flourished. By studying the development of Japanese films after World War II, this paper reveals the trend of Japanese postwar cultural development, that is, the phenomenon of "Sun clan" and "rogue faction". Comparing the connotations of these two new cultural trends, they represent the two aspects that form the core of Japanese traditional culture, that is, "Dao" and "chrysanthemum" put forward by Lu Si Benedict, an American scholar, in the 1940s. That is, the spirit of Bushido and the thought of emperor system. The so-called "Sun clan" originated from a novel, the season of the Sun, by Shintaro Ishihara, a young postwar writer. The novel is full of violence and pornography, which is completely different from the traditional Japanese culture. The novel became a hit and was adapted into a film, which completely changed the development direction of Japanese postwar film. The high-spirited martial spirit in his works is the representative of Bushido Spirit. The so-called "rogue", from the writer Sakakuchi Anwu in a paper published in a magazine, the depravity. He believes that people should fall to the end on the right path, then compromise to society and survive in depravity. At that time, this thought caused a heated debate, influenced a large number of Japanese film directors, and became the main ideological connotation of Japanese erotic films in the 1970s. The spirit of restraint and forbearance in the works is the portrayal of the thought of Emperor system. Based on the development of Japanese films after World War II, this paper studies the rise and decline of "Sun nationality movies" and "rogue films". Then it analyzes the cultural and social causes of the rise and decline of the two kinds of films in Japan after the war, and further discusses the role of these two kinds of films in the cultural development and social process of Japan after the war. And summed up the post-war cultural prosperity of the two major development direction-advance and retreat.
【學位授予單位】：上海師范大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J905;G131.3
本文編號：2392126
[Abstract]:The paper stems from a quote by film-maker Siegfried Krakall in "from Calgary to Hitler": "in the event of drastic political change, certain collective habits accumulate momentum." The breakdown of the political system leads to the collapse of the psychological system, and in the ensuing riots, the traditional internal mentality is loosened, whether it is opposed or recognized, they will certainly attract attention. " This sentence reveals a cultural phenomenon, that is, after a major political and social change, the new cultural trends brought about by this change have made a profound reflection on and a strong critique of the inherent traditional culture. And attempts to subvert the existing cultural structure, thus building a new cultural system. It is in the fierce collision of new and old ideas and the succession of cultural systems that all kinds of cultural forms and literary works have flourished. By studying the development of Japanese films after World War II, this paper reveals the trend of Japanese postwar cultural development, that is, the phenomenon of "Sun clan" and "rogue faction". Comparing the connotations of these two new cultural trends, they represent the two aspects that form the core of Japanese traditional culture, that is, "Dao" and "chrysanthemum" put forward by Lu Si Benedict, an American scholar, in the 1940s. That is, the spirit of Bushido and the thought of emperor system. The so-called "Sun clan" originated from a novel, the season of the Sun, by Shintaro Ishihara, a young postwar writer. The novel is full of violence and pornography, which is completely different from the traditional Japanese culture. The novel became a hit and was adapted into a film, which completely changed the development direction of Japanese postwar film. The high-spirited martial spirit in his works is the representative of Bushido Spirit. The so-called "rogue", from the writer Sakakuchi Anwu in a paper published in a magazine, the depravity. He believes that people should fall to the end on the right path, then compromise to society and survive in depravity. At that time, this thought caused a heated debate, influenced a large number of Japanese film directors, and became the main ideological connotation of Japanese erotic films in the 1970s. The spirit of restraint and forbearance in the works is the portrayal of the thought of Emperor system. Based on the development of Japanese films after World War II, this paper studies the rise and decline of "Sun nationality movies" and "rogue films". Then it analyzes the cultural and social causes of the rise and decline of the two kinds of films in Japan after the war, and further discusses the role of these two kinds of films in the cultural development and social process of Japan after the war. And summed up the post-war cultural prosperity of the two major development direction-advance and retreat.
【學位授予單位】：上海師范大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J905;G131.3
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