本文選題：張徹 + 武俠電影　； 參考：《河北大學(xué)》2013年碩士論文

【摘要】：在所有電影類型中武俠電影是我國獨有的，從其定義來講可劃歸為動作片，但它又具有自身所獨有的藝術(shù)特色和深厚文化內(nèi)涵，是中國電影藝術(shù)的一面旗幟。而每當(dāng)提及武俠電影時有一個人是不能不提的，他就是張徹。他是武俠電影蓬勃發(fā)展的奠基人之一，為早期武俠電影的發(fā)展，，尤其是新派武俠電影的發(fā)展做出了不可磨滅的貢獻。 “陽剛武俠”是張徹武俠電影的代名詞，尤其是他的武俠電影中對暴力和死亡的描繪雖然曾引起種種爭議，但無疑是大膽的也是成功的。張徹武俠電影的所有主角都是男性，突出的是男性之間的情誼，男人的豪氣、義氣、霸氣，以及“士為知己者死”的俠義豪情。赤膊上陣、盤腸大戰(zhàn)展現(xiàn)的是中華兒女不畏強權(quán)、視死如歸的民族精神，在武俠電影中塑造了一種硬朗、健壯的性格，形成了其“陽剛武俠”的電影氣質(zhì)。 張徹武俠電影所具有的不僅是內(nèi)在的陽剛氣質(zhì)和暴力奇觀，而且還具備著大師級的電影表現(xiàn)手法，以及自己的一套視聽技巧，這是成功電影所必備的。如電影鏡頭的快速剪輯、畫面構(gòu)圖的考究、交響配樂的選用、后期配音的使用等等，如此之多具有獨特性的表達方式，在充分表現(xiàn)作者思想的同時，豐富了武俠電影的內(nèi)容。在其不斷的摸索與運用當(dāng)中，逐步形成了張徹對于暴力與死亡的獨特表現(xiàn)形式，那便是“暴力美學(xué)”。 作為新派武俠電影的開山鼻祖，張徹的武俠電影具有自身獨特的表現(xiàn)手法和藝術(shù)風(fēng)格，“陽剛氣質(zhì)”、“暴力美學(xué)”是其電影創(chuàng)作生涯中所堅守與貫徹的，一部部經(jīng)典的影片成為了一座座不朽的豐碑。作為香港影壇的第一個“百萬導(dǎo)演”，除了給后世留下膾炙人口的作品外還對后來的武俠電影美學(xué)風(fēng)格起到了重要作用。 本文以張徹的代表性武俠電影為立足點，深入分析他的電影藝術(shù)特色，以及他對武俠電影發(fā)展所做出的杰出貢獻。同時將“暴力美學(xué)”、“陽剛武俠”等相關(guān)藝術(shù)名詞作進一步梳理，使大家能有一個較為清晰的概念認識，探索張徹武俠電影的獨特藝術(shù)魅力。
[Abstract]:In all kinds of films, martial arts film is unique in China, which can be classified as action film by definition, but it has its own unique artistic characteristics and profound cultural connotation, which is a banner of Chinese film art. Whenever mention of martial arts movies, there is a person is not to mention, he is Zhang Chou. He was one of the founders of the vigorous development of the martial arts film, and made an indelible contribution to the development of the early martial arts film, especially the development of the new martial arts film. Yanggang martial arts is a synonym for Zhang Chou's martial arts movies, especially the depiction of violence and death in his martial arts films has aroused all kinds of controversy, but it is undoubtedly bold and successful. All the protagonists in Chang Chou's martial arts film are male, highlighting the friendship between men, the pride, righteousness, hegemony and chivalrous feelings of "the scholar dies for his confidant". Bare-nosed, disco war shows the national spirit of Chinese sons and daughters who do not fear power and look as if they are dead. They have shaped a strong, robust character in the martial arts movies and formed their film temperament of "masculine swordsman". Zhang Chou's martial arts film not only has the inner masculine temperament and violent spectacle, but also has the masterful film expression technique, as well as his own set of audio-visual skills, which is necessary for the successful film. Such as the fast editing of film lens, the study of picture composition, the selection of symphonic music, the use of late dubbing, and so on, so many unique ways of expression, while fully expressing the author's thoughts, enriched the content of the martial arts film. In its constant exploration and application, Zhang Chou's unique form of expression of violence and death is gradually formed, that is, "violence aesthetics". As the originator of the new martial arts film, Zhang Chou's martial arts film has its own unique expression technique and artistic style, "masculine temperament", "violent aesthetics" is his film creation career adhere to and carry out. A classic film has become a monumental monument. As the first "one million director" in Hong Kong film, it not only left a famous work for later generations, but also played an important role in the later martial arts film aesthetic style. Based on Zhang Chou's representative martial arts films, this paper analyzes his artistic characteristics and his outstanding contributions to the development of martial arts films. At the same time, the related art terms such as "violent aesthetics" and "masculine martial arts" are further combed, so that we can have a clear understanding of the concept and explore the unique artistic charm of Zhang Chou's martial arts films.
【學(xué)位授予單位】：河北大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J911

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