本文選題：賈樟柯 + 電影��； 參考：《陜西師范大學(xué)》2013年碩士論文

【摘要】：本研究以賈樟柯導(dǎo)演的作品為個(gè)案分析其在美國(guó)的傳播狀況。通過對(duì)賈樟柯導(dǎo)演的電影作品在美國(guó)的獲獎(jiǎng)狀況、上映情況、票房收益等的分析,探尋賈樟柯電影美國(guó)傳播獲得認(rèn)可的原因和面臨的困境與挑戰(zhàn)。賈樟柯電影作為中國(guó)文化軟實(shí)力的一個(gè)截面,是提前于我國(guó)硬實(shí)力發(fā)展步調(diào)的。他的電影作品被美國(guó)電影節(jié)普遍接受、認(rèn)可。而事實(shí)上,真正接受他作品的是美國(guó)文化精英們。在電影節(jié)頻頻獲獎(jiǎng)之后,他的作品又傳入美國(guó)電影學(xué)院課堂和小劇場(chǎng)被觀賞、學(xué)習(xí),這一批受眾是美國(guó)高等教育受者、潛在的精英。這些被他們觀看、思考、接受的我國(guó)本土文藝作品帶給他國(guó)受眾一定積極、正面影響,這樣的作品才可稱之為文化軟實(shí)力,這樣的文藝作品傳播之路才是文化軟實(shí)力對(duì)外提升之路。 賈樟柯作品在美國(guó)獲得認(rèn)可主要基于其作者化、個(gè)人化文本書寫方式,世界普適的主題探求、文化表述及其作品中蘊(yùn)涵的“他性”言說。作者化、風(fēng)格化書寫一向是歐洲電影的標(biāo)簽,歐洲電影人對(duì)這一標(biāo)簽偏愛并引以為傲。美國(guó)電影體系作為歐洲電影學(xué)派最大的競(jìng)爭(zhēng)者,同時(shí)也是最大的欣賞者,這一事實(shí)在美國(guó)電影學(xué)派鑒賞他國(guó)影片時(shí)展露無(wú)遺。通過對(duì)美國(guó)較有代表性的兩大電影節(jié)——學(xué)院獎(jiǎng)即奧斯卡金像獎(jiǎng)和洛杉磯影評(píng)人協(xié)會(huì)獎(jiǎng)對(duì)近年的最佳外語(yǔ)片獎(jiǎng)獲獎(jiǎng)影片的類型、主題梳理,我們不難發(fā)現(xiàn)美國(guó)電影學(xué)者鑒賞他國(guó)影片時(shí),更偏愛歐洲式的獨(dú)立的、個(gè)體的書寫方式,更傾向于從藝術(shù)的角度擇優(yōu)而彰。賈樟柯每一部作品都充斥著對(duì)政治的解構(gòu)、歷史的還原、對(duì)“生活”和“個(gè)人”的關(guān)注以及對(duì)無(wú)處是故鄉(xiāng)的焦慮表述。這三大主題契合著美國(guó)電影學(xué)者近年來青睞的文化主題和意識(shí)形態(tài)。敏銳的賈樟柯知道什么樣的題材能吸引美國(guó)人的眼球。在美國(guó)影人厭煩了“販賣落后”和“販賣大場(chǎng)而”后,賈樟柯選擇了中國(guó)縣城這個(gè)新意的“他性”熱點(diǎn)。中國(guó)都市化進(jìn)程中的問題,城鄉(xiāng)之間的斷裂,三峽工程的爭(zhēng)議等都借由鄉(xiāng)鎮(zhèn)這個(gè)平臺(tái),借由他的畫面被客觀、冷靜地展現(xiàn)。 賈樟柯作品風(fēng)格多為記錄式藝術(shù)電影,他的作品在美國(guó)的傳播形式代表著中國(guó)藝術(shù)電影在美國(guó)的傳播。本文借此引中分析中國(guó)藝術(shù)電影該如何應(yīng)對(duì)在美國(guó)傳播面臨的文化沖突、意識(shí)形態(tài)差異和市場(chǎng)困境。中國(guó)藝術(shù)電影期望在美國(guó)可持續(xù)傳播應(yīng)首先考慮文化和美學(xué)策略——加強(qiáng)“人文關(guān)懷”的同時(shí),提高電影制作質(zhì)量；選擇普適話題,打造中國(guó)視角。其次應(yīng)思慮產(chǎn)業(yè)戰(zhàn)略——建立長(zhǎng)效機(jī)制,加強(qiáng)國(guó)際合作；打造國(guó)際化藝術(shù)推手。 賈樟柯把自己放在時(shí)代中,將人性袒露在他的作品中,以最接近自由的方式隨意而又真誠(chéng)得去紀(jì)錄。他冷靜、沉著地面對(duì)現(xiàn)實(shí),用理性、真誠(chéng)的態(tài)度創(chuàng)作,用偏執(zhí)、個(gè)性的手法拍攝。其作品展現(xiàn)出來的獨(dú)特品質(zhì),彰顯了中國(guó)新一代電影人的品位與追求,是我國(guó)藝術(shù)電影在美國(guó)傳播的一次勝利。
[Abstract]:This study takes Jia Zhangke's works as a case to analyze the status of its communication in the United States. Through the analysis of the status of award-winning, showing and box office earnings of Jia Zhangke's film works in the United States, this paper explores the reasons for the recognition of Jia Zhangke's film American communication and the difficulties and challenges facing Jia Zhangke films as a soft Chinese culture. A cross section of strength is in advance of the pace of the development of hard power in our country. His films are widely accepted and accepted by the American Film Festival. In fact, the American cultural elite are truly accepted by the American Film Festival. After the festival, his works were introduced to the American film academy class and the small theatre to be watched and studied. The audience is the American higher education recipient, the potential elite. These Chinese local literary and artistic works which they have seen, thought and accepted bring to his country a positive and positive influence. Such works can be called the soft power of culture. This way of literature and art is the road to the promotion of cultural soft power.
The recognition of Jia Zhangke's works in the United States is mainly based on its author, individualized text writing, the universal theme of the world, cultural expression and the "character" in his works. Author and stylized writing have always been the label of European films. The European film people are inclined to this label and proud. As the biggest competitor and the greatest admirer of the European film school, this fact remains uncovered when the American Film School appreciates the film of his country. By the two most representative American Film Festival, the Academy Award, the Oscar gold medal and the Losangeles Film Critics Association Award, the best foreign language film awards in recent years. It is not difficult to find that American film scholars prefer European style independent and individual writing style, which are more inclined to choose from the angle of art. Each of Jia Zhangke's works is full of political deconstruction, historical restoration, attention to "life" and "individual" and to no one. The three themes fit the cultural themes and ideology favoured by American film scholars in recent years. The keen Jia Zhangke knows what themes attract Americans' attention. After the American movie people are tired of "selling backwardness" and "trafficking", Jia Zhangke chose the new meaning of the Chinese county. The problems in the process of urbanization in China, the fracture between urban and rural areas, the dispute of the Three Gorges project, and so on are borrowed from the platform of the township, which is objectively and dispassionate.
The style of Jia Zhangke's works is mostly a recording art film, and the communication form of his works in the United States represents the spread of Chinese art films in the United States. This paper analyzes how Chinese art films should cope with the cultural conflicts, ideological differences and the dilemma of the market in the United States. The continued communication should first consider cultural and aesthetic strategies - strengthen the "humanistic care", improve the quality of film production, select the universal topic, create a Chinese perspective. Secondly, think about the industrial strategy, establish a long-term mechanism, strengthen international cooperation, and build an international art push.
Jia Zhangke put himself in his times, exposing human nature to his works, with the closest free way to the record. He calmly, calmly faced the reality, created with a rational, sincere attitude, photographed with a paranoia and personality. His works show the unique quality of the new generation of Chinese filmmakers. Position and pursuit are a triumph of the spread of Chinese art films in the United States.

【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J905

【參考文獻(xiàn)】

相關(guān)期刊論文 前6條

1 李宗彥;;全球化語(yǔ)境中主旋律電影的創(chuàng)作策略探析[J];電影文學(xué);2007年15期

2 李明軍;李向明;;話語(yǔ)轉(zhuǎn)型期中國(guó)電影的失語(yǔ)癥[J];電影評(píng)介;2007年21期

3 趙昆鵬;;中美電影意識(shí)形態(tài)策略的差異[J];大眾文藝;2010年02期

4 楊瑋;;論第六代導(dǎo)演的真實(shí)美學(xué)藝術(shù)[J];電影評(píng)介;2012年22期

5 張過;;中國(guó)影院發(fā)展十年大事記(2002—2012)[J];當(dāng)代電影;2012年12期

6 高莉;;試析《木蘭辭》與美國(guó)電影《Mulan》中的中美文化差異[J];懷化學(xué)院學(xué)報(bào)(社會(huì)科學(xué));2006年03期

，

本文編號(hào)：1780473