本文選題：婁燁 + 電影��； 參考：《安徽師范大學(xué)》2017年碩士論文

【摘要】：婁燁是中國(guó)第六代電影的代表性導(dǎo)演。以?shī)錈顬榇淼牡诹娪?有著明顯的作者電影的特征,也就是說(shuō)婁燁的電影是藝術(shù)電影。他的電影具有明顯的法國(guó)新浪潮電影的特征,但是相較于法國(guó)新浪潮,又有較為明顯的突破。這種突破體現(xiàn)在對(duì)暴力和色情問(wèn)題的處理上,具有明顯的后結(jié)構(gòu)主義色彩。他的電影與其他第六代電影的差異便體現(xiàn)在這點(diǎn),這也是本文研究的價(jià)值所在。本文共分為三章。第一章,本章主要從符形、符義和符用三個(gè)方面對(duì)婁燁電影中的符號(hào)進(jìn)行分析。首先,在符形視野下,主要對(duì)婁燁電影中符號(hào)的能指、所指,以及電影中符號(hào)的修辭進(jìn)行探討,分析其在電影符號(hào)中使用的獨(dú)特性。其次,從符義學(xué)角度對(duì)電影中出現(xiàn)的符號(hào)意義傳達(dá)與解釋進(jìn)行探討,主要從其內(nèi)涵意義、象征意義和文化意義進(jìn)行分解闡釋。最后,從符用學(xué)角度對(duì)電影語(yǔ)境進(jìn)行分析,并對(duì)婁燁電影《推拿》進(jìn)行個(gè)案分析。第二章,從三方面對(duì)婁燁電影敘事的獨(dú)特性進(jìn)行探討。首先,對(duì)敘事時(shí)間和空間進(jìn)行分析,講述婁燁電影中獨(dú)特的敘事空間。其次,婁燁電影敘事視角一直都顛覆傳統(tǒng)的電影敘事視角,給大眾呈現(xiàn)出一種全新的敘事線索和講述視角,本文從攝像式的視角、體驗(yàn)視角和具有獨(dú)創(chuàng)性的“盲視角”對(duì)其電影視角進(jìn)行分析。第三章,對(duì)婁燁電影的文本進(jìn)行分析。第一節(jié),從雅各布森語(yǔ)言符號(hào)學(xué)中的組合軸和聚合軸展開,采用語(yǔ)言學(xué)模式,討論婁燁電影橫組合軸和縱聚合軸的雙軸運(yùn)作問(wèn)題。縱聚合的寬窄,決定了電影文本的風(fēng)格特征。第二節(jié),采用羅蘭·巴特《明室》中的文本二元性——展面與刺點(diǎn),對(duì)婁燁的電影文本的文化層面(即“展面”)和一些細(xì)節(jié)(即“刺點(diǎn)”)進(jìn)行分析。本文在后結(jié)構(gòu)主義符號(hào)學(xué)的語(yǔ)境中討論婁燁電影中的展面與刺點(diǎn)。通過(guò)符號(hào)學(xué)方法對(duì)婁燁電影的研究得出結(jié)論:婁燁的電影既有作者電影的顯著特征,同時(shí)還有明顯的后結(jié)構(gòu)主義風(fēng)格。他對(duì)暴力和色情的處理,并不是如一般商業(yè)電影那樣,是一種吸引觀眾的噓頭,而是一種藝術(shù)手段。具體表現(xiàn)就是符號(hào)學(xué)中的“刺點(diǎn)”。這作為一種文本編碼的手段,使他的電影文本具有了羅蘭·巴特意義上的可生產(chǎn)性色彩,仿佛是一個(gè)局部可逆的星形文本。這些可逆性的影像符號(hào)有其自洽性,是突破結(jié)構(gòu)主義符號(hào)學(xué)的意指過(guò)程的后結(jié)構(gòu)主義符號(hào),是一個(gè)反建構(gòu)的過(guò)程。婁燁的電影既是作者電影,也具有后結(jié)構(gòu)主義風(fēng)格,看似矛盾,卻有統(tǒng)一性,是一種具有后現(xiàn)代性的電影。
[Abstract]:Lou Ye is the representative director of the sixth generation film in China. The sixth generation film, represented by Lou Ye, has the characteristics of the author's film, that is to say, Lou Ye's film is an art film. His films have the characteristics of the French New Wave movies, but compared with the French New Wave, there are more obvious breakthroughs. This breakthrough is reflected in the treatment of violence and pornography, with a clear post-structuralism color. The difference between his films and other sixth-generation films is reflected in this point, which is the value of this study. This paper is divided into three chapters. In the first chapter, this chapter analyzes the symbols in Lou Ye's films from three aspects: form, sememe and symbol. First of all, from the perspective of symbol, this paper mainly discusses the signifier, signifier, and rhetoric of symbols in Lou Ye's films, and analyzes the uniqueness of their use in film symbols. Secondly, from the perspective of semiotics, this paper probes into the communication and interpretation of the symbolic meaning in the film, mainly from its connotation, symbolic meaning and cultural meaning. Finally, it analyzes the film context from the perspective of semiotics and a case study of Lou Ye's film Tuina. The second chapter discusses the uniqueness of Lou Ye's film narration from three aspects. Firstly, the narrative time and space are analyzed, and the unique narrative space in Lou Ye's films is described. Secondly, Lou Ye film narrative perspective has been subverting the traditional film narrative perspective, giving the public a new narrative clue and narrative perspective. Experience perspective and original "blind perspective" to analyze its film perspective. Chapter three analyzes the text of Lou Ye's films. In the first section, from the combination axis and the aggregate axis in Jacobson's linguistic semiotics, we discuss the biaxial operation of the horizontal combined axis and the longitudinal aggregate axis in Lou Ye's film by using the linguistic model. The width of the longitudinal aggregation determines the style characteristics of the film text. In the second section, the author analyzes the cultural aspect and some details of Lou Ye's film text by using the duality of the text in Roland Bart's Ming Room. In the context of post-structuralist semiotics, this paper discusses the exhibition and prickles in Lou Ye's films. The study on Lou Ye's films by semiotic method concludes that Lou Ye's films have the distinctive features of the author's films and the obvious post-structuralist style. His treatment of violence and pornography is not a booing device, like a commercial film, but an art device. The concrete expression is the "prickle point" in semiotics. As a means of text coding, his film text has a productive color in the sense of Roland Bart, as if it is a partially reversible star text. These reversible image symbols have their own consistency, are the post-structuralist symbols that break through the signifying process of structuralism semiotics, and are a process of anti-construction. Lou Ye's film is not only an author's film, but also a poststructuralist style, seemingly contradictory, but unified.
【學(xué)位授予單位】：安徽師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J911

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