本文選題：青春電影 + 愛(ài)情��； 參考：《西南大學(xué)》2014年碩士論文

【摘要】：青春電影在世界電影上作為一種類型或題材一直是被描寫(xiě)表達(dá)的對(duì)象。中國(guó)大陸青春電影的發(fā)展則比較晚,與其他國(guó)家或地區(qū)的青春電影相比,似乎不盡如人意。相對(duì)于美國(guó)好萊塢成熟的類型青春電影,中國(guó)大陸青春電影在早期中國(guó)電影史上無(wú)一席之地；相對(duì)于臺(tái)灣地區(qū)“小清新”風(fēng)格的青春電影,大陸青春電影始終沒(méi)有形成自己的風(fēng)格。在學(xué)術(shù)界,關(guān)于大陸青春電影的研究起步較晚,研究成果也有待豐富和完善。20世紀(jì)90年代中國(guó)大陸青春電影出現(xiàn)了新的面貌,特別是近幾年(2013年中國(guó)大陸掀起了一股“青春片”風(fēng)潮)的大陸青春電影出現(xiàn)了新的變化�；谝陨险J(rèn)識(shí),對(duì)90年代以來(lái)大陸青春電影的研究不僅具有現(xiàn)實(shí)意義也具有理論價(jià)值。不僅有利于發(fā)現(xiàn)大陸青春電影的發(fā)展變化、創(chuàng)作更好的青春電影,從文化研究角度關(guān)照大陸青春電影也具有創(chuàng)新理論價(jià)值。 本文通過(guò)觀看大量青春電影,為青春電影做界定,并試圖從文化研究角度對(duì)90年代以來(lái)大陸青春電影做母題研究,對(duì)其中包括的愛(ài)情、成長(zhǎng)、叛逆、夢(mèng)想、迷惘元素分別作了相應(yīng)分析,具體框架如下： 緒論部分,交代本文的研究背景、文獻(xiàn)綜述和對(duì)青春電影作界定。 第一章,青春之悸動(dòng),講述90年代以來(lái)大陸青春電影中多樣化的愛(ài)情表達(dá)模式,包括純愛(ài)、性啟蒙、偷嘗禁果和我的愛(ài)情我做主。而對(duì)于愛(ài)情的表達(dá)大致呈現(xiàn)出從純愛(ài)過(guò)度到愛(ài)情消費(fèi)的發(fā)展道路； 第二章,青春之成長(zhǎng),講述90年代以來(lái)大陸青春電影中的不同類型的成長(zhǎng)主題,包括文革青春、邊緣青春、校園青春和都市青春。從這個(gè)方面來(lái)看,大陸青春電影呈現(xiàn)從文藝青春電影過(guò)度到商業(yè)青春電影的軌跡； 第三章,青春之叛逆,講述90年代以來(lái)大陸青春電影中的叛逆元素,包括對(duì)父權(quán)的反抗、對(duì)傳統(tǒng)文化的反叛和對(duì)外部世界的反抗; 第四章,青春之夢(mèng)想,講述90年代以來(lái)大陸青春電影中不同的夢(mèng)想表達(dá),包括個(gè)人化的夢(mèng)想、集體式的夢(mèng)想和少數(shù)人的夢(mèng)想空白。在夢(mèng)想表達(dá)方面,大陸青春電影總體呈現(xiàn)殘酷青春的頹敗氣息； 第五章,青春之迷惘,分析90年代以來(lái)大陸青春電影中的迷惘主題,包括自我身份的缺失、個(gè)人價(jià)值觀的混亂和對(duì)社會(huì)現(xiàn)實(shí)的迷惘。90年代的大陸青春電影中總是表現(xiàn)著對(duì)應(yīng)時(shí)代的社會(huì)面貌和青年群體的迷惘和困惑； 最后結(jié)論部分總結(jié)90年代以來(lái)的大陸青春電影發(fā)展成就和不足,并給出個(gè)人觀點(diǎn)。針對(duì)大陸青春電影類型單一、受眾模糊、缺乏“道德前提”等問(wèn)題,如何確立自己的風(fēng)格將是大陸青春電影面臨的重要難題。而審查制度的改革和電影分級(jí)制的確立將有利于中國(guó)大陸青春電影出現(xiàn)更自由的創(chuàng)作和更多元的表達(dá)。
[Abstract]:Youth film has always been described and expressed as a type or subject matter in world films. The development of youth movies in mainland China is relatively late, compared with the youth films of other countries or regions, it does not seem to be satisfactory. Compared with the mature types of youth movies in Hollywood, mainland China has no place in the history of early Chinese films; compared with the "small and fresh" style youth films in Taiwan, Mainland youth films have never formed their own style. In academic circles, the research on the mainland youth films started late, and the research results need to be enriched and perfected. In the 1990s, the Chinese mainland youth films appeared a new look. Especially in recent years, there has been a new change in Chinese youth films. Based on the above understanding, the study of mainland youth films since 1990's has not only practical significance but also theoretical value. It is not only helpful to discover the development and change of the mainland youth film, but also has the innovative theoretical value to create the better youth film from the angle of cultural research. Through watching a large number of youth movies, this paper defines youth movies, and tries to study the motif of mainland youth films from the perspective of cultural research, including love, growth, rebellion, dreams, etc. The lost elements are analyzed respectively, and the specific framework is as follows: The introduction part explains the research background, literature review and definition of youth film. The first chapter, the throbbing of youth, tells of the variety of expressions of love in the mainland youth movies since the 1990s, including pure love, sexual enlightenment, stealing forbidden fruit and my love. The expression of love shows the development road from pure love to love consumption. The second chapter, the growth of youth, describes the different types of growth themes in the mainland youth films since the 1990s, including the Cultural Revolution youth, marginal youth, campus youth and urban youth. From this point of view, the mainland youth film shows the transition from the literary youth film to the commercial youth film track; The third chapter, the rebellious youth, tells of the rebellious elements in the mainland youth films since the 1990s, including the resistance to patriarchy, to the traditional culture and to the outside world. The fourth chapter, the dream of youth, tells of the different dream expressions in the mainland youth movies since the 1990s, including the individual dream, the dream of the collection and the dream blank of a few people. In terms of the expression of dreams, the mainland youth movies on the whole show the decay of cruel youth; The fifth chapter, the loss of youth, analyzes the lost theme in the mainland youth movies since the 1990s, including the lack of self-identity. The confusion of personal values and the confusion to the social reality. In the mainland youth movies of 1990s, it always shows the social appearance of the corresponding era and the confusion and confusion of the youth group; The last part summarizes the achievements and shortcomings of the development of the mainland youth films since 1990's, and gives personal views. Aiming at the problems such as the single type of youth film in mainland China, the vague audience and the lack of "moral premise", how to establish one's own style will be an important problem facing the young film in mainland China. The reform of censorship system and the establishment of film classification system will be conducive to the emergence of more free creation and multi-element expression of youth films in mainland China.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J909.2

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 劉帆;;《獨(dú)自等待》:語(yǔ)境的勝利[J];電影評(píng)介;2006年12期

2 李宇峰;肖青;;成長(zhǎng)母題與弒父情結(jié):對(duì)《孔雀》的文化分析[J];電影評(píng)介;2007年18期

3 陳犀禾;;當(dāng)代中國(guó)電影的三種制作模式[J];電影新作;2000年04期

4 楊洋;;賈樟柯:游刃有余的旁觀者[J];電影;2006年11期

5 尹鴻;;世紀(jì)轉(zhuǎn)型:當(dāng)代中國(guó)的大眾文化時(shí)代[J];電影藝術(shù);1997年01期

6 王宗峰;;人民美學(xué)與角落書(shū)寫(xiě) 作為文藝事件的賈樟柯電影[J];電影藝術(shù);2007年05期

7 王炎;;成長(zhǎng)的終結(jié)?——解析福蘭克·墨羅蒂的《世界的存在方式》[J];外國(guó)文學(xué);2006年02期

8 肖熹;李洋;;《小時(shí)代》:倒錯(cuò)性幼稚病與奶嘴電影[J];電影藝術(shù);2013年05期

9 陳詠;;《狗十三》:現(xiàn)實(shí)主義的青春挽歌[J];電影藝術(shù);2013年06期

10 黃望莉;黃帆順;;文化新政下的當(dāng)代青春懷舊電影[J];電影新作;2014年01期

，

本文編號(hào)：1907922