發(fā)布時(shí)間：2018-01-13 17:42

  本文關(guān)鍵詞：管虎電影美學(xué)思想研究　出處：《四川師范大學(xué)》2014年碩士論文　論文類(lèi)型：學(xué)位論文

  更多相關(guān)文章： 管虎 邊緣人群 第六代電影導(dǎo)演 非線性敘事 悲劇

【摘要】：管虎作為新生代中國(guó)電影導(dǎo)演中的“鬼才”導(dǎo)演，自第一部電影處女作《頭發(fā)亂了》以來(lái)，就開(kāi)始展現(xiàn)其不同于同代導(dǎo)演的敘事風(fēng)格和多維度影像理念。管虎電影中有中國(guó)新生代導(dǎo)演的普遍性特征，，但是又并不局限于共同性中，他劍走偏鋒，通過(guò)早期拍攝電視劇的鍛煉和積累，逐漸形成了一套自己的電影審美風(fēng)格和敘事策略。通過(guò)對(duì)邊緣人物細(xì)致入微的刻畫(huà)，管虎電影滲透出強(qiáng)烈的人文關(guān)懷和質(zhì)樸的生命體驗(yàn)。本文試圖通過(guò)對(duì)管虎個(gè)性化的研究，著重分析管虎電影風(fēng)格的形成原因及其影像中表意系統(tǒng)的核心美學(xué)特點(diǎn)。通過(guò)對(duì)作品的深度剖析，闡述管虎的創(chuàng)作主題下蘊(yùn)含的美學(xué)意味以及哲學(xué)思考。本文還將以中國(guó)第六代電影導(dǎo)演為敘述背景，探索管虎與中國(guó)第六代導(dǎo)演之間普遍性與特殊性的關(guān)系，并嘗試對(duì)第六代導(dǎo)演的創(chuàng)作思路帶來(lái)一定的借鑒意義。 本文主體分為四個(gè)部分： 第一章是管虎其人與中國(guó)電影新生代。在這個(gè)章節(jié)中，主要有兩小節(jié)構(gòu)成，第一小節(jié)主要討論中國(guó)第六代導(dǎo)演中的現(xiàn)實(shí)處境，他們雖然時(shí)常成為國(guó)內(nèi)輿論的話題，但是第六代導(dǎo)演由于游離于體制外創(chuàng)作，所以是“地下”逆光生存現(xiàn)狀，這一小節(jié)主要闡述中國(guó)第六代導(dǎo)演在當(dāng)今時(shí)代中的真實(shí)精神狀況和生存狀態(tài)。第二小節(jié)講述管虎置身于中國(guó)第六代導(dǎo)演中，卻又獨(dú)樹(shù)一幟的“怪才”特征，管虎作為“異類(lèi)”導(dǎo)演的養(yǎng)成經(jīng)歷和骨子里滲透著必須關(guān)注小人物的使命感。 第二章是管虎導(dǎo)演的敘事主題和美學(xué)藝術(shù)風(fēng)格。在這個(gè)章節(jié)中，主要有三小節(jié)構(gòu)成：第一小節(jié)由邊緣人群的個(gè)性化寫(xiě)實(shí)和亂世中有關(guān)個(gè)人生存價(jià)值的詰問(wèn)這兩部分組成。管虎電影的關(guān)注點(diǎn)，始終圍繞邊緣化人群展開(kāi)。邊緣化人物主要是無(wú)名的小人物，通過(guò)對(duì)小人物的描述展現(xiàn)普通人的平凡生命。第二小節(jié)主要討論管虎電影中女性角色的柔性抗?fàn)�。通過(guò)對(duì)其電影中女性角色的梳理，可以概括管虎對(duì)女性在世俗社會(huì)生活中命運(yùn)發(fā)展的個(gè)人思考。重點(diǎn)分析影片《西施眼》，結(jié)合中國(guó)意境論美學(xué)范疇，講述在男性導(dǎo)演視角下的女性審美意象。第三節(jié)是苔蘚式環(huán)境中的異類(lèi)沙漠，這一小節(jié)討論的是管虎電影下的第三類(lèi)極具特點(diǎn)的個(gè)性人物。不同于小人物的基數(shù)大普遍化等特點(diǎn)，這類(lèi)人群通常也屬于邊緣性人群，但是個(gè)體差異性明顯，屬于典型環(huán)境中成長(zhǎng)出的非典型性人物，這一小節(jié)將結(jié)合作品《殺生》來(lái)深度剖析。 第三章是管虎電影鏡頭中表意系統(tǒng)的核心美學(xué)特點(diǎn)。這個(gè)章節(jié)由兩小節(jié)構(gòu)成：人物宿命感的悲劇審美體驗(yàn)和非線性敘事語(yǔ)境中還原生命體驗(yàn)的美感，這兩節(jié)從電影拍攝技術(shù)本身來(lái)討論管虎電影敘事技巧方面的規(guī)律和美學(xué)意義。 第四章是管虎電影和新生代導(dǎo)演出路。這一章節(jié)由“億元俱樂(lè)部”的追逐與反思和第六代導(dǎo)演的集體展望組成。在最后一章中，通過(guò)對(duì)管虎第一部完全商業(yè)電影《廚子戲子痞子》的分析，來(lái)闡述管虎電影以及中國(guó)第六代電影導(dǎo)演如何在堅(jiān)持自我藝術(shù)創(chuàng)作的前提下突出重圍，在中國(guó)電影市場(chǎng)中另辟捷徑，尋找到屬于自己的道路。
[Abstract]:As a new generation of film director Guan Hu China in "genius" director, since the first movie debut "hair", began to show the different from the same generation of the narrative style and the multi dimension image concept. Universal features China directors of the new generation in Guan Hu's films, but is not limited to the common he, Zoupian Jian Feng, through early drama training and accumulation, and gradually formed a set of their own film aesthetic style and narrative strategy. Through to portray nuanced characters in the film, Guan Hu a strong humanistic care and simple life experience. This paper attempts to study Guan Hu's individuation, form the core of the aesthetic features of the image and ideographic system focuses on the analysis of Guan Hu film style. Based on the depth analysis of works, expounds Guan Hu's creation under the theme of the aesthetic meaning in And philosophical thinking. This paper will also take the sixth generation of Chinese movie directors as the narrative background, explore the relationship between Guan Hu and the sixth generation directors in China, and try to provide some reference for the sixth generation directors' creative ideas.
The main body of this article is divided into four parts:
The first chapter is about Guan Hu and Chinese movie Cenozoic. In this section, there are two main sections. The first section mainly discuss Chinese sixth generation director of the reality of the situation, although they often become the topic of public opinion, but the sixth generation directors due to free from outside the system creation, so is the "underground" negative living status this section mainly expounds the Chinese sixth generation in today's era of true mental health and living condition. The second section describes Guan Hu in China sixth generation director, has become an independent school "geeks" features Guan Hu as "alien" director to develop experience and inside permeate a little people must pay attention to the sense of mission.
The second chapter is Guan Hu's narrative theme and aesthetic style. In this section, there are three main sections: the first section of two by the edge of the crowd and troubled about personalized realism of the value of human existence question part. Guan Hu's film concerns, always around the marginalized groups. The marginalized mainly is a little obscure, show the ordinary life of ordinary people through the little description. The second section mainly discusses the flexible struggle of female characters in Guan Hu's films. Based on the female role in the movie review, can be summed up personal reflections on women's fate in the development of secular and social life in Guan Hu. The movie focuses on the beauty of the eye on the aesthetic category with China >, artistic conception, aesthetic images in the male director about the female perspective. The third section is the moss type environment in heterogeneous desert, discussed in this section Is the third great characteristics of Guan Hu film under the personality. A large number of common features such as different from the little people, these people are usually belongs to marginal groups, but individual differences obviously, belongs to the atypical growth figures out in the typical environment, this section will work with the "killing depth analysis."
The third chapter is the core of aesthetic characteristics of Guan Hu in the film ideographic system. This chapter is divided into two sections: the reduction of the life experience of the aesthetic character fatalism tragedy aesthetic experience and nonlinear narrative context, the two from the film technology to discuss their own rules of the Guan Hu film narrative skills and aesthetic significance.
The fourth chapter is the Guan Hu film and the directors of the new generation way. This chapter from the "million club" chase and reflection and the sixth generation of director's collective outlook. In the last chapter, by analyzing Guan Hu's first commercial movie "cook actors riffraff", expounds Guan Hu's films and films of the sixth generation Chinese how the director insists on self artistic creation under the tight encirclement, in the China movie market open another shortcut to find their own way.

【學(xué)位授予單位】：四川師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J905

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