【摘要】：“黑色電影”首先是由批評(píng)家們命名,并廣泛應(yīng)用于學(xué)術(shù)文章的寫(xiě)作之后,電影制作人才開(kāi)始談及它。這一術(shù)語(yǔ),對(duì)于大多數(shù)人而言,意味著20世紀(jì)四五十年代某些好萊塢電影類(lèi)型、風(fēng)格或流行的特征,是偵探與蛇蝎美人、黑幫火拼、血腥槍?xiě)?zhàn)的籠統(tǒng)概述。標(biāo)準(zhǔn)的歷史敘述稱(chēng),“黑色電影”源于美國(guó),是硬派小說(shuō)和德國(guó)表現(xiàn)主義綜合的結(jié)果。法國(guó)影評(píng)人博爾德和肖默東進(jìn)一步深化,對(duì)電影的審美分析從視聽(tīng)元素轉(zhuǎn)移到主題內(nèi)核,開(kāi)始注重解析電影“黑色性”的分析,認(rèn)為“黑色電影”制造了一種心理與道德的失控感,是一種對(duì)資本主義價(jià)值觀的揭露。美國(guó)人將這種他者視域下的自我逐漸內(nèi)化,于越戰(zhàn)時(shí)期,“黑色電影”正式成為一種好萊塢類(lèi)型片。在中國(guó)版圖南部沿海地區(qū)的香港,東西方文化的碰撞和較為寬松的創(chuàng)作環(huán)境,使得香港地區(qū)影壇更快接納了這種反傳統(tǒng)的類(lèi)型影片。受西方文化、嶺南文化和中原文化復(fù)合影響的香港觀眾,更樂(lè)意看到對(duì)于人性兩面性的批判式表達(dá),和來(lái)自社會(huì)底層、邊緣化人物的吶喊。正是由于有了龐大的觀影群體,新浪潮之后的香港導(dǎo)演開(kāi)始了對(duì)于警匪、黑幫片井噴式的創(chuàng)作,而黑幫片也由此成為香港電影的代名詞之一。在眾多創(chuàng)作團(tuán)隊(duì)中,杜琪峰和他的銀河映像是不可或缺的一支力量。杜琪峰導(dǎo)演對(duì)于黑色電影獨(dú)特的美學(xué)表達(dá),也被批評(píng)家和影迷們津津樂(lè)道。在電影節(jié)競(jìng)賽中,杜琪峰的黑幫電影無(wú)論在國(guó)內(nèi)還是國(guó)際都取得了巨大的成功。對(duì)于他的黑幫電影,很多人只是泛泛而談,鮮有人對(duì)其思想內(nèi)容、影像風(fēng)格進(jìn)行深入研究�？v觀杜琪峰黑幫電影,內(nèi)容深刻真實(shí)、形式唯美靈活,敘事新穎獨(dú)特、人物塑造細(xì)膩。他的杜氏黑色敘事更是對(duì)后來(lái)的香港警匪片、懸疑片產(chǎn)生極大影響。闡釋杜琪峰電影的黑色性,并將這種黑色性置于整個(gè)香港黑幫電影的時(shí)代和社會(huì)背景下,通過(guò)對(duì)其社會(huì)基礎(chǔ)、本土化進(jìn)程的全方位的考察,指出其黑色性是黑幫電影產(chǎn)生的社會(huì)基礎(chǔ)、中國(guó)傳統(tǒng)江湖文化中的俠義精神、導(dǎo)演個(gè)人敘事表達(dá)風(fēng)格等三種力量相互融合的結(jié)果。以往對(duì)于杜琪峰的電影研究,有的只是涉及到杜氏電影中的“暴力”、“宿命”等主題;有的只是縱向比較杜琪峰和吳宇森的黑幫電影異同;有的雖然意識(shí)到《無(wú)間道》系列明顯地受到杜琪峰黑幫電影的影響,關(guān)注到了劉偉強(qiáng)等導(dǎo)演對(duì)杜琪峰黑幫電影的學(xué)習(xí)和借鑒,但較少有人針對(duì)這一點(diǎn)展開(kāi)論述,進(jìn)行橫向比較,以此來(lái)凸顯杜琪峰對(duì)于香港影壇獨(dú)特而深遠(yuǎn)的影響力。在表達(dá)內(nèi)容上,杜琪峰不斷重復(fù)的對(duì)于男性角色的魔幻主義塑造和性別歌頌為其電影打下不可忽視的標(biāo)簽,在這種性別傾向下,女性角色的單一表達(dá)成為不可忽視的研究對(duì)象,而這種明顯的傾向在黑幫題材和警匪類(lèi)型片中或多或少被當(dāng)作理所當(dāng)然的存在。本文力求有所突破,深入研究杜琪峰黑色電影,以點(diǎn)帶面,通過(guò)對(duì)杜琪峰電影黑色世界的展現(xiàn)、影像風(fēng)格的分析及個(gè)人創(chuàng)作階段的比較等三個(gè)方面來(lái)突出其電影的“黑色性”主題,從而論證杜氏電影的風(fēng)格個(gè)性和獨(dú)特價(jià)值,為杜琪峰電影的研究提供一個(gè)新的視點(diǎn)。
[Abstract]:"Black film" was first named by critics and widely used in academic writing, and film makers began to talk about it. This term, for most people, means that some of the Hollywood movie types, styles, or popular features of the 40s and 50s twentieth Century are detectives and snake scorpions, gangsters and bloody guns. The historical narrative of the war, the historical narrative of the standard, that "black film" originated in the United States, is the result of the combination of hard fiction and German Expressionism. The French critics Bold and Xiao Modong further deepened the aesthetic analysis of the film from audio-visual elements to the theme core, and began to pay attention to the analysis of the "black" analysis of the film, and thought that " "Black film" creates a psychological and moral sense of control, a revelation of the values of capitalism. Americans gradually internalize the self in the other's vision. During the Yu Yue war, the "black film" formally became a Hollywood type. In the southern coastal area of China, the eastern and Western cultures collided in Hongkong and in the southern coastal area of China. The more relaxed creative environment has made the movie circles in Hongkong more quickly accepted this kind of anti traditional film. The Hongkong audience, influenced by the western culture, south of the Five Ridges culture and the Central Plains culture, is more willing to see the critical expression of the dual nature of human nature, and the cry from the bottom of the society and the marginalized characters. After the new wave, the Hongkong director began to create a blowout style for the bandit and the gangster, and the gangster became one of the pronouns of the Hongkong film. Among the many creative teams, Johnny To and his galaxy are an indispensable force. Director Johnny To's unique aesthetic expression for black films is also known. In the film festival, Johnny To's gangster films have made great success both at home and abroad. For his gangster movies, many people just talk about it. Few people have made a thorough study of their ideological content and image style. The content of the Johnny To gangster movies is profound and true. Style is beautiful and flexible, the narrative is unique and the characters are exquisite. His Duchenne black narration has a great influence on the later Hongkong bandit film and suspense film. It explains the black character of Johnny To's film, and puts this black character in the era and social scene of the whole Hongkong gangster film, through its social foundation, the whole process of localization. The study of azimuth points out that the black character is the social foundation of the black gang film, the chivalrous spirit in the Chinese traditional culture of the river and the lake, and the result of the fusion of the three forces of the director's personal narrative expression style. It is only a longitudinal comparison of the similarities and differences between Johnny To and Johnwoo's black gang films; while some are aware that the series of "no" is obviously influenced by Johnny To's black gang films, it pays attention to Andrew Lau and other directors to learn and draw lessons from the Johnny To black gang films, but few people discuss this point and compare them horizontally to highlight Du. Qi Feng's unique and profound influence on the Hongkong film world. In the expression, Johnny To repeatedly repeats the unnegligible label for the magic shaping of the male characters and the sex praise for the film. Under this sex tendency, the single expression of the female role is a research object that can not be ignored, and this obvious tendency is obvious. In the gangster and the bandit genre, it is more or less being taken for granted. This article strives to make a breakthrough in the study of Johnny To's black film, with a point of view, to highlight the "black" of the film through three aspects, such as the appearance of the black world of Johnny To, the analysis of the image style and the comparison of the stage of personal creation. The theme thus demonstrates the style, personality and unique value of Du's films, and provides a new perspective for the study of Johnny To's films.
【學(xué)位授予單位】：長(zhǎng)安大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J901

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本文編號(hào)：2127011