發(fā)布時(shí)間：2018-05-04 14:41

  本文選題：中國西部武俠電影 + 電影符號(hào)學(xué)　； 參考：《陜西科技大學(xué)》2014年碩士論文

【摘要】：中國武俠電影作為中國特有的電影類型，經(jīng)歷了一個(gè)從不同的藝術(shù)形態(tài)、不同的電影樣式逐漸分化、演變而形成的歷史過程。中國武俠電影在1920年前后開始出現(xiàn)，在1927年左右逐漸熱門、逐漸成形，在戰(zhàn)爭年代衰敗，到20世紀(jì)50年代復(fù)興繁榮。武俠片在中國電影史上，其規(guī)模之大，參與者之眾，產(chǎn)量之多，形態(tài)、趣味之豐富，幾乎都超過了其他故事片類型�？梢哉f，在中國電影史上最成熟的電影類型就是武俠片，同時(shí)也是蘊(yùn)含著最深厚的民族精神和中國傳統(tǒng)文化的片種。 世界電影史發(fā)展超過110年，與中國武俠片同具知名度的還有美國的西部片，兩種類型片同時(shí)開始發(fā)展，成為了世界電影史上發(fā)展較早、特點(diǎn)突出、類型清晰的電影，至今仍是好萊塢最受歡迎的經(jīng)典類型影片。受到美國西部片創(chuàng)作風(fēng)格的影響，在20世紀(jì)80年代初中國西部電影勃興發(fā)展，在第五代導(dǎo)演的帶領(lǐng)下，以展現(xiàn)西部粗獷雄渾自然風(fēng)光和宿命悲涼人文內(nèi)涵的電影形成了潮流，由此這類影片都打上了中國西部電影的烙印，西部電影也漸漸成為了一個(gè)引人注目的創(chuàng)作流派。 本課題的關(guān)鍵論點(diǎn)主體是中國西部武俠這一電影范疇，中國武俠電影和中國西部電影都屬于中國特有電影類型。中國西部電影和武俠電影的結(jié)合是社會(huì)、歷史、文化多元演進(jìn)的結(jié)果，武俠的氣質(zhì)與西部的特點(diǎn)不謀而合，孤寂、蒼涼、粗獷、悲壯的特質(zhì)在兩種類型電影里常常得以體現(xiàn)，所以才有了這兩種類型結(jié)合并且成為經(jīng)典類型的中國西部武俠電影。中國西部武俠電影的開創(chuàng)及發(fā)展是中國西部地域文化和中國武俠文化碰撞的結(jié)果。 1990年何平導(dǎo)演的《雙旗鎮(zhèn)刀客》轟動(dòng)中國大陸乃至香港影壇，這部電影突破了大陸武俠片和香港武俠片長期以來著力刻畫武打動(dòng)作的審美定式，，將武俠動(dòng)作從“工筆”改向了“寫意”。同時(shí)何平導(dǎo)演開山立派地將電影鏡頭聚焦到了中國西部地區(qū)，開創(chuàng)了中國西部武俠電影的先河。在近20年的發(fā)展中，中國西部武俠電影漸漸成為了武俠電影的一個(gè)新流派。 本選題引入符號(hào)學(xué)的概念，對(duì)中國西部武俠電影的特質(zhì)進(jìn)行梳理、提煉，確定中國西部武俠電影的符號(hào)學(xué)特性和美學(xué)情境，嘗試尋找其背后的邏輯支撐。在電影模式多元化和文化多樣性的發(fā)展趨勢下，跨文化和跨學(xué)科的研究在對(duì)解讀電影文本時(shí)能提供一些新的視角，啟發(fā)新的思路，使原本模糊不清的概念得以清晰明確，讓研習(xí)的視角更加多元豐富。運(yùn)用電影符號(hào)學(xué)的理論整合出中國西部武俠電影獨(dú)特的原型譜系。為深入闡發(fā)中國西部電影多元的文化內(nèi)涵作好理論準(zhǔn)備和支撐。為電影學(xué)和美學(xué)補(bǔ)充新的審美角度。
[Abstract]:As a unique type of Chinese film, the Chinese martial arts film has undergone a historical process from different artistic forms and different movie styles to gradual differentiation and evolution. Chinese martial arts films began to appear around 1920, gradually became popular in 1927 or so, gradually formed, in the war years of decline, to the 1950s rejuvenation and prosperity. In the history of Chinese films, swordsman films almost surpass other feature films in terms of their scale, number of participants, production, form and taste. It can be said that in the history of Chinese film, the most mature type of film is martial arts film, but also contains the most profound national spirit and Chinese traditional culture. The world film history has developed for more than 110 years. Along with Chinese swordsman films, as well as American western films, the two types of films have started to develop at the same time, and have become early, prominent, and clearly typed films in the history of the world's cinema. It is still Hollywood's most popular classic genre. Influenced by the style of American western films, in the early 1980s, Chinese western films flourished and developed. Under the leadership of the fifth generation directors, films that showed the wild and powerful natural scenery of the west and the tragic humanistic connotation of fate formed a trend. As a result, these films have been branded as Chinese western films, and western films have gradually become a noticeable genre of creation. The main point of this thesis is the category of Chinese western martial arts, both of which belong to the special type of Chinese films. The combination of Chinese western movies and martial arts films is the result of the pluralistic evolution of society, history and culture. The temperament of martial arts and the characteristics of the west coincide with each other. The characteristics of loneliness, desolation, rugged and solemn are often reflected in the two types of films. So there is the combination of these two types and become a classic type of Chinese western martial arts movies. The creation and development of Chinese western martial arts film is the result of the collision between Chinese western regional culture and Chinese martial arts culture. Directed by He Ping in 1990, "Shuangqi Zhen Dao Guest" is a sensation in mainland China and even Hong Kong. This film breaks through the aesthetic pattern of mainland and Hong Kong martial arts films that have long been devoted to depicting martial arts movements. The martial arts action from "fine brush" to "freehand brushwork." At the same time, director He Ping has focused the film lens on the western region of China, creating the first martial arts movie in western China. In the past 20 years, western Chinese martial arts movies have gradually become a new genre of martial arts movies. This paper introduces the concept of semiotics, combs and refines the characteristics of the Chinese western martial arts movies, determines the semiotic characteristics and aesthetic situation of the western Chinese martial arts movies, and tries to find the logical support behind them. Under the development trend of film mode diversity and cultural diversity, cross-cultural and interdisciplinary studies can provide some new perspectives and enlighten new ideas when interpreting film texts, so that the original ambiguous concepts can be clear and clear. Make the perspective of the study more diverse and rich. The unique archetypal pedigree of martial arts films in western China is integrated with the theory of film semiotics. In order to further elucidate the cultural connotations of the western Chinese film, the theory of preparation and support. It is a new aesthetic angle for film science and aesthetics.
【學(xué)位授予單位】：陜西科技大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J905

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