本文選題：犯罪題材　切入點：類型元素　出處：《阜陽師范學院》2017年碩士論文　論文類型：學位論文

【摘要】：在消費語境中,犯罪題材電影因其選材的敏感性和表現(xiàn)手法的風格化而別具魅力,吸引觀眾眼球的同時也獲得了資本與市場的青睞,故而內(nèi)地犯罪題材電影,在新世紀這一電影產(chǎn)業(yè)改革深化期有了長足的發(fā)展。新世紀以來內(nèi)地犯罪題材電影采用更靈活的敘事手段,主動融入類型元素,呈現(xiàn)出多樣的表現(xiàn)形態(tài)。電影人一面對類型電影進行學習與借鑒,一面結(jié)合本土化策略生產(chǎn)出不同式樣的影片。比如,寧浩極具草根氣質(zhì)的黑色喜劇作品、曹保平亦莊亦諧的劇情片、丁晟風格硬朗的警匪片及攜帶類型元素的藝術(shù)片等等,這些形態(tài)各異的影片營造了新世紀電影市場百花齊放的格局。新世紀內(nèi)地犯罪題材電影在表達特色上擁有高度自覺性,電影人對本土電影的影像表達和電影語法進行了摸索與創(chuàng)新。首先,犯罪題材電影將空間設(shè)置與倫理表述進行結(jié)合,深度挖掘人性與社群性格,暴露轉(zhuǎn)型時期社會存在的各種問題。其次,內(nèi)地犯罪題材電影通過方言塑造了底層人物及邊緣人物形象并透析了方言背后的地域文化。再次,新世紀內(nèi)地犯罪題材電影對角色心理進行深入挖掘,嘗試運用心理進行敘事。新世紀內(nèi)地犯罪題材電影從借鑒到總結(jié)經(jīng)驗再到實驗創(chuàng)新,由此衍生出一批別具一格的作品。市場和電影人一道向西方電影、港臺電影、韓國電影學習,在實踐中逐漸總結(jié)出適宜中國電影市場的經(jīng)驗,并通過實驗與創(chuàng)新生產(chǎn)出天馬行空的作者電影及獨特的青春片。新世紀內(nèi)地犯罪題材電影是當代中國電影的生力軍,匯集了諸多優(yōu)秀的電影人才,代表著內(nèi)地電影行業(yè)的較高水準。本文通過對犯罪題材電影進行系統(tǒng)地梳理與考察,觸摸到中國電影行業(yè)的脈搏,從具體作品出發(fā),正視行業(yè)當前的進步與困境,提出在商業(yè)與藝術(shù)之間尋求平衡的解決對策。
[Abstract]:In the context of consumption, crime films are attractive because of their sensitivity to material selection and stylization of their methods of expression, attracting the attention of the audience and gaining the favor of the capital and the market at the same time. In the new century, during the period of deepening the reform of the film industry, great progress has been made. Since the new century, mainland crime films have adopted more flexible narrative methods and actively integrated into the elements of type. There are various forms of expression. Filmmakers learn and learn from genre films, and on the other hand produce films of different styles in combination with the localization strategy. For example, Ning Hao's black comedy works, which have a very grassroots temperament, Cao Baoping also played drama films by Chuang Yi-heng, Ding Sheng's hard-headed police and bandit films, art films with type elements, and so on. These films of various shapes have created a pattern of blooming in the film market in the new century. The mainland crime films of the new century have a high degree of consciousness in expressing their characteristics. The filmmakers grope and innovate the image expression and the movie grammar of the local film. Firstly, the crime theme film combines the space setting with the ethics expression, excavates the humanity and the community character deeply. Secondly, the crime film in the mainland molds the image of the bottom character and the marginal figure through dialect and analyzes the regional culture behind the dialect. In the new century, the mainland crime movies deeply excavate the role psychology, try to use psychology to narrate. The new century mainland crime films from learning from summing up experience to experimental innovation, This gave rise to a number of unique works. The market and filmmakers learned from Western films, Hong Kong and Taiwan films, and Korean films. In practice, they gradually summed up experiences suitable for the Chinese film market. And through experiments and innovations, the author's films and unique youth films are produced. The mainland crime films of the new century are the fresh force of contemporary Chinese films, bringing together many excellent film talents. It represents the relatively high standard of the film industry in the mainland. By systematically combing and investigating the crime theme films, this paper touches the pulse of the Chinese film industry, starts from the concrete works, and faces up to the current progress and predicament of the industry. Put forward the solution that seeks balance between business and art.
【學位授予單位】：阜陽師范學院
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J905

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