二十世紀(jì)九十年代以來中國大陸電影中“北京”城市影像與文化表達(dá)
發(fā)布時(shí)間：2018-07-29 07:39
【摘要】：20世紀(jì)90年代以來，城市形象成為電影中的重要建構(gòu)對象之一。影像中的城市形象并不單單是對現(xiàn)實(shí)中城市形象的臨摹和照搬，而是在個(gè)人和社會(huì)集體聯(lián)合作用下的想象性的建構(gòu)，通過對城市中的元素諸如空間、建筑、交通工具等元素的展示,以及對城中人的生活、狀態(tài)、情感、價(jià)值觀念的敘述來構(gòu)建和表達(dá)城市。北京，中國的政治經(jīng)濟(jì)文化中心，由于自身的獨(dú)特性，自中國電影誕生以來就成為電影藝術(shù)表達(dá)、想象、建構(gòu)、解讀的對象，尤其是自20世紀(jì)90年代以來，中國社會(huì)面臨著兩個(gè)影響至深關(guān)乎未來發(fā)展的大背景：首先，中國社會(huì)正經(jīng)歷著全國范圍內(nèi)從鄉(xiāng)村到城市的轉(zhuǎn)型時(shí)期；第二，北京也正經(jīng)歷著走向世界全球化的大趨勢。在這雙重語境的影響下，北京的風(fēng)土人情、發(fā)展變遷、文化風(fēng)韻都在影像中都被建構(gòu)了出來。得益于北京自身的積淀豐厚，才為電影提供了豐富和多元化的得以“記憶和想象”的空間，同時(shí)，結(jié)合二十世紀(jì)九十年代以來電影創(chuàng)作城市化和全球化這兩個(gè)重要語境，來對這一時(shí)期中國大陸電影中建構(gòu)的北京影像進(jìn)行藝術(shù)形式和思想內(nèi)涵的分析，試探尋影像背后的社會(huì)文化等因素。 本文旨在參考電影文化研究相關(guān)理論，以文本細(xì)讀的方式，從“北京城市影像”這一視角,來剖析與探討近20多年來中國大陸城市電影中的“北京”城市形象及其光影之痕中所折射出的當(dāng)今社會(huì)文化。 本文主體分為四部分：第一部分：傳統(tǒng)·現(xiàn)代·國際：北京城市影像變遷。主要從傳統(tǒng)古都、現(xiàn)代新城和國際迷城三個(gè)方面梳理九十年代以來“北京”城市影像發(fā)展的大致脈絡(luò)；第二部分：想象·感懷·無名：北京城市影像選擇性書寫。概括“北京”城市影像的內(nèi)容選擇、形象建構(gòu)和表達(dá)方式，即通過想象式的重構(gòu)和感懷式的抒寫以及泛城市形象與泛人物形象地?zé)o名式彰顯來探討“北京”城市影像的內(nèi)容；第三部分：改造·迎合·迷失：北京城市影像文化呈現(xiàn)。從傳統(tǒng)與現(xiàn)代、差異與相同、商業(yè)與人、認(rèn)同與消解四個(gè)方面探討“北京”城市影像所表達(dá)出的當(dāng)代社會(huì)文化現(xiàn)實(shí)及其復(fù)雜性，同時(shí)提出影像呈現(xiàn)的問題：固定化、符號化以及極端化。第四部分：作者·權(quán)力·市場：制約北京影像建構(gòu)的因素。從導(dǎo)演、社會(huì)和市場三個(gè)方面論述制約北京影像構(gòu)成的因素，其中導(dǎo)演的生活年代、生活經(jīng)歷、政治意識形態(tài)、主流意識形態(tài)和民族話語的制約、市場法則和跨國資本的流通都對當(dāng)今“北京”城市影像的如何呈現(xiàn)起著關(guān)鍵性的作用。 本文在轉(zhuǎn)型期和全球化背景下研究，從城市與電影方面解讀當(dāng)今城市社會(huì)、解讀電影中城市影像變遷，主要回答電影中的北京究竟是怎樣的一個(gè)城市、北京城市形象如何被創(chuàng)作者選擇、北京城中的人具備怎樣的秉性和氣質(zhì)，他們的身份怎么被書寫，以及產(chǎn)生這種形象的原因。
[Abstract]:Since 1990's, the city image has become one of the important construction objects in the film. The city image in the image is not only the copying and copying of the city image in reality, but also the imaginative construction under the joint action of individual and society, through the elements of the city such as space, architecture, The display of transportation and other elements, as well as the description of the life, state, emotion and values of the people in the city to construct and express the city. Beijing, the political, economic and cultural center of China, because of its own uniqueness, has been the object of expression, imagination, construction and interpretation of film art since the birth of Chinese films, especially since the 1990s. Chinese society is faced with two major backgrounds that are deeply related to the future development: first, the Chinese society is experiencing a period of transition from the countryside to the city in the whole country; second, Beijing is also experiencing a major trend towards the globalization of the world. Under the influence of this dual context, Beijing's local customs, development changes, cultural charm are all constructed in the image. Thanks to the rich accumulation of Beijing itself, it has provided rich and diversified space for "memory and imagination" for films. At the same time, combining the two important contexts of film creation, urbanization and globalization since the 1990s, This paper analyzes the artistic forms and ideological connotations of the Beijing images constructed in the movies of mainland China in this period, and tries to find out the social and cultural factors behind the images. The purpose of this paper is to refer to the relevant theories of film culture research and to read the text carefully from the perspective of "Beijing City Image". This paper analyzes and discusses the contemporary social culture reflected in the city image of "Beijing" in the urban films of mainland China in recent 20 years. The main body of this paper is divided into four parts: the first part: traditional modern international: Beijing city image changes. Mainly from the traditional ancient capital, the modern new city and the international lost city three aspects combs the 90's "Beijing" the city image development general vein; the second part: the imagination feeling nameless: Beijing city image selective writing. This paper summarizes the content selection, image construction and expression of "Beijing" city image, which is to discuss the content of "Beijing" city image through imagination reconstruction and sentimental expression, and the unnamed manifestation of pan-city image and pan-character image. The third part: the transformation caters to the lost: Beijing city image culture presents. This paper discusses the contemporary social and cultural reality and its complexity expressed by the city image of "Beijing" from four aspects: traditional and modern, difference and similarity, commerce and people, identity and resolution. At the same time, it puts forward the problems of image presentation: immobilization, and so on. Symbolization and extremism. The fourth part: the author's power market: the factors restricting the image construction in Beijing. From three aspects of director, society and market, this paper discusses the factors restricting the composition of Beijing image, including the director's life age, life experience, political ideology, mainstream ideology and national discourse. The law of market and the circulation of transnational capital play a key role in how to present the city image of Beijing. Under the background of transformation and globalization, this paper analyzes the urban society in terms of city and film, explains the changes of urban images in movies, and mainly answers the question of what kind of city Beijing is in the movies. How the city image of Beijing is chosen by the creators, what kind of personality and temperament the people in the city have, how their identity is written, and the reasons for this image.
【學(xué)位授予單位】：河南大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J905
本文編號：2151982
[Abstract]:Since 1990's, the city image has become one of the important construction objects in the film. The city image in the image is not only the copying and copying of the city image in reality, but also the imaginative construction under the joint action of individual and society, through the elements of the city such as space, architecture, The display of transportation and other elements, as well as the description of the life, state, emotion and values of the people in the city to construct and express the city. Beijing, the political, economic and cultural center of China, because of its own uniqueness, has been the object of expression, imagination, construction and interpretation of film art since the birth of Chinese films, especially since the 1990s. Chinese society is faced with two major backgrounds that are deeply related to the future development: first, the Chinese society is experiencing a period of transition from the countryside to the city in the whole country; second, Beijing is also experiencing a major trend towards the globalization of the world. Under the influence of this dual context, Beijing's local customs, development changes, cultural charm are all constructed in the image. Thanks to the rich accumulation of Beijing itself, it has provided rich and diversified space for "memory and imagination" for films. At the same time, combining the two important contexts of film creation, urbanization and globalization since the 1990s, This paper analyzes the artistic forms and ideological connotations of the Beijing images constructed in the movies of mainland China in this period, and tries to find out the social and cultural factors behind the images. The purpose of this paper is to refer to the relevant theories of film culture research and to read the text carefully from the perspective of "Beijing City Image". This paper analyzes and discusses the contemporary social culture reflected in the city image of "Beijing" in the urban films of mainland China in recent 20 years. The main body of this paper is divided into four parts: the first part: traditional modern international: Beijing city image changes. Mainly from the traditional ancient capital, the modern new city and the international lost city three aspects combs the 90's "Beijing" the city image development general vein; the second part: the imagination feeling nameless: Beijing city image selective writing. This paper summarizes the content selection, image construction and expression of "Beijing" city image, which is to discuss the content of "Beijing" city image through imagination reconstruction and sentimental expression, and the unnamed manifestation of pan-city image and pan-character image. The third part: the transformation caters to the lost: Beijing city image culture presents. This paper discusses the contemporary social and cultural reality and its complexity expressed by the city image of "Beijing" from four aspects: traditional and modern, difference and similarity, commerce and people, identity and resolution. At the same time, it puts forward the problems of image presentation: immobilization, and so on. Symbolization and extremism. The fourth part: the author's power market: the factors restricting the image construction in Beijing. From three aspects of director, society and market, this paper discusses the factors restricting the composition of Beijing image, including the director's life age, life experience, political ideology, mainstream ideology and national discourse. The law of market and the circulation of transnational capital play a key role in how to present the city image of Beijing. Under the background of transformation and globalization, this paper analyzes the urban society in terms of city and film, explains the changes of urban images in movies, and mainly answers the question of what kind of city Beijing is in the movies. How the city image of Beijing is chosen by the creators, what kind of personality and temperament the people in the city have, how their identity is written, and the reasons for this image.
【學(xué)位授予單位】：河南大學(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：2151982
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