本文選題：華語功夫 + 武俠電影��； 參考：《陜西師范大學(xué)》2014年碩士論文

【摘要】：文化全球化的時代浪潮為中國文化產(chǎn)品的對外輸出提供了機(jī)遇,與此同時,全球化時代突破地域、民俗、文化乃至意識形態(tài)界限的資源共享所引起的對于東方文化的“奇觀化”誤讀也對中華文明在世界范圍內(nèi)的傳播帶來了更大的挑戰(zhàn)。作為民族文化輸出最直觀有效的方式,華語功夫、武俠電影以其景觀化的武術(shù)打斗場面以及影片敘事中所蘊(yùn)含的豐富中華傳統(tǒng)內(nèi)涵,突破障礙成為國際范圍內(nèi)受到廣泛歡迎的類型片種。不同時期華語功夫、武俠電影中出現(xiàn)的大量性格迥異的“英雄”形象也受到了海內(nèi)外學(xué)者的廣泛關(guān)注。 國民文化身份在影視作品中的建構(gòu)直接影響到了國家形象和本土文化在國際范圍內(nèi)的傳播。而文化身份在影視作品中的呈現(xiàn)正是中國政治、經(jīng)濟(jì)、文化發(fā)展在不同歷史環(huán)境下的投射。因此,本文將選取自上世紀(jì)六十年代至今的華語功夫、武俠電影為研究文本,分析其故事情節(jié)安排,人物形象設(shè)置,與現(xiàn)實(shí)的隱含聯(lián)系等,以社會學(xué)、文藝學(xué)、傳播學(xué)為理論支撐,分析影片中的“英雄”形象是在不同的時代背景下形成的文化身份特點(diǎn)以及原因。文章通過分析在不同時代華語功夫、武俠電影中所塑造的最具有代表性的“英雄”形象以及其產(chǎn)生的時代與文化背景,旨在探討不同歷史時期華語電影所反映的不同時代中國人的文化身份認(rèn)同。 論文總共分為五個部分： 緒論部分對華語功夫、武俠電影的現(xiàn)狀以及選題的時代背景及意義進(jìn)行了大致的分析,并對關(guān)于論文的核心概念——“文化身份”的研究進(jìn)行了總結(jié)和梳理。 第1章對同功夫、武俠電影進(jìn)行了界定并對華語電影中的“英雄”形象體系進(jìn)行了一個基本的歸納,即以江湖俠客為代表,源自藝術(shù)作品美好想象的理想型英雄；以歷史英雄為代表,源自歷史資料的精英式英雄以及充滿后現(xiàn)代色彩,更接近日常生活的平民化英雄。 第2章以個案分析的方式,對李小龍深受西方價值觀影響的“英雄”形象,徐克電影《黃飛鴻》系列中面對東西方文化沖突的“師父”黃飛鴻形象以及《葉問》系列電影中葉問更具普世人文關(guān)懷的“一代宗師”形象等在藝術(shù)創(chuàng)作和人物設(shè)置上的特點(diǎn)進(jìn)行了深入的分析。 第3章以時間為軸,對華語功夫、武俠電影中的“英雄”形象從以“文化中國”為核心的傳統(tǒng)俠士,到合拍片繁盛期面臨東西方文化沖突有焦慮,有反思,有選擇的復(fù)合型“英雄”,再到華語電影“大中華”時代尋求兩岸三地深度文化聯(lián)系的“文化共享型”英雄的流變歷程進(jìn)行了深入探析�？偨Y(jié)了不同時期華人對于建構(gòu)自身文化身份的認(rèn)知與電影創(chuàng)作的聯(lián)系。 第4章通過對華語功夫、武俠電影“英雄”形象在時代發(fā)展中共性的總結(jié),思考了中國人文化身份在華語電影乃至世界電影體系中的定位,對中華民族文化在全球化語境中的時代發(fā)展進(jìn)行了初步的展望與探索。
[Abstract]:The era of cultural globalization provides an opportunity for the export of Chinese cultural products to the outside world. At the same time, the era of globalization breaks through regions and folklore. The misreading of oriental culture caused by the sharing of resources in the cultural and ideological boundaries also poses a greater challenge to the spread of Chinese civilization in the world. As the most direct and effective way to export national culture, Chinese kungfu, martial arts film with its landscape martial arts fighting scenes and the rich Chinese traditional connotation in the film narrative, Breaking through obstacles has become an internationally popular type of film species. In different periods of Chinese kung fu, a large number of "hero" images with different characters appeared in the martial arts movies, which have also been widely concerned by scholars at home and abroad. The construction of national cultural identity in film and television directly affects the national image and the spread of local culture in the international scope. The presentation of cultural identity in film and television works is the projection of Chinese political, economic and cultural development in different historical environments. Therefore, this paper will select the Chinese kungfu and martial arts films from the 1960s to the present as the research text, analyze the story plot arrangement, the character image setting, the implied relation with the reality, and so on, to sociology, literature and art, etc. Based on the theory of communication, this paper analyzes the characteristics and causes of the cultural identity formed in the film's "hero" image under different background of the times. This paper analyzes the most representative "hero" images created in Chinese kung fu films in different times, and the era and cultural background of their emergence. The purpose of this paper is to explore the cultural identity of Chinese people in different ages as reflected in Chinese films in different historical periods. The thesis is divided into five parts altogether: the introduction part makes a general analysis of the present situation of Chinese kungfu, martial arts movies and the background and significance of the selected topics. At the same time, it summarizes and combs the research on the core concept of the thesis-Cultural identity. The first chapter defines the same kung fu, martial arts film and the "hero" image system in the Chinese film for a basic induction, that is to say, with the quack-lake chivalrous person as the representative, from the artistic works of fine imagination of the ideal hero; Represented by historical heroes, elitist heroes derived from historical materials and popularized heroes who are full of postmodern colors and are closer to daily life. Chapter 2 is a case study of Li Xiaolong's "hero" image, which is deeply influenced by western values. The image of "Master" Huang Feihong in the series of Tsui Ke's films "Huang Fei Hong" facing the cultural conflict between the East and the West, and the image of "the Master of the Generation" in the "Ip Man" film series, which is more universal and humane, are in artistic creation and characters. The characteristics of the setup are analyzed in depth. The third chapter takes the time as the axis, to the Chinese language kungfu, the martial arts movie "hero" image from "the culture China" as the core traditional chivalrous person, to the co-production time faces the East and West culture conflict has the anxiety, has the introspection. The selective composite "hero" and the "culture-sharing" hero in the era of the Chinese film "Greater China" seeking the deep cultural ties between the two sides of the Taiwan Strait are deeply explored. This paper summarizes the relationship between Chinese cognition of constructing their own cultural identity and film creation in different periods. Chapter 4 summarizes the commonness of Chinese kung fu and martial arts movie "hero" in the development of the times, and thinks about the position of Chinese cultural identity in the Chinese language film and even the world film system. The development of Chinese culture in the context of globalization is preliminarily prospected and explored.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J905

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本文編號：2015951