【摘要】：飲食是人類所共有的一切事物中最為本質(zhì)性的,從原始社會起,它就被賦予了其自身存在之外的含義,成為象征符號。而電影自誕生之日起就與飲食符號結(jié)下了不解之緣,或?yàn)閿⑹碌妮d體,或?yàn)榍楦斜磉_(dá)的依托、或是文化內(nèi)蘊(yùn)的表征,影片中的人物、情節(jié)及意蘊(yùn)均與之息息相關(guān)。飲食符號的意指由其所處的具體環(huán)境決定。創(chuàng)作主體通過對電影中相鄰符號鏈的靈活組合,使飲食符號在不同的結(jié)構(gòu)形式中具有不同的意義:一是飲食符號作為敘事的載體、烹武同構(gòu)所蘊(yùn)含的社會意義;二是飲食符號與性或情欲相結(jié)合的情色化象征;三是飲食符號作為情感表達(dá)的依托而存在,與人物的情感緊密聯(lián)系;四是飲食符號表征文化內(nèi)蘊(yùn),從中可以看到本民族的民族文化及與西方文化的差異。電影的表意與闡釋,更多地取決于觀影主體。在電影的制作過程中,創(chuàng)作主體必須時刻牢記以此刻缺席的未來觀眾的觀看為前提;而在觀影過程中,觀影主體的想象力則是銀幕世界的起源,其對于攝影機(jī)的認(rèn)同和對影片中角色的認(rèn)同是理解電影的基礎(chǔ)。在這兩個層次的認(rèn)同基礎(chǔ)之上,觀影主體認(rèn)同于影片中以食物本身、飲食器具、烹調(diào)方式、進(jìn)餐形式、進(jìn)餐場景等為能指的飲食象征符號及其背后的深層意蘊(yùn):情感欲望、儀式性格、政治意涵、民族文化及禮儀規(guī)范等。此外,由于主體位置的顛覆及想象的匱乏,造成的觀影過程中的接受差異,將會導(dǎo)致觀影主體對影片中飲食符號運(yùn)用的不認(rèn)同。
[Abstract]:Diet is the most essential of all things common to mankind. From the primitive society, it has been endowed with a meaning beyond its own existence and become a symbolic symbol. Since the birth of the film, it has been inextricably related to the dietary symbols, either as the carrier of narration, the support of emotional expression, or the representation of cultural connotation. The characters, plot and implication of the film are closely related to it. The meaning of a dietary symbol is determined by the specific circumstances in which it is located. Through the flexible combination of the adjacent symbols in the film, the creative subject makes the dietetic symbols have different meanings in different structural forms: first, the dietetic symbols are the carrier of narration, and the social significance of the cooking isomorphism; The second is the sexualized symbol of the combination of dietary symbols and sex or desire; the third is the existence of dietary symbols as the support of emotional expression, which is closely related to the emotions of characters; the fourth is the cultural connotation of dietetic symbols. From this, we can see the difference between the national culture and the western culture. The meaning and interpretation of the film depends more on the subject. In the process of making the film, the creative subject must always bear in mind the premise of the future audience who is absent at the moment, while in the process of watching the film, the imagination of the subject is the origin of the screen world. The recognition of the camera and the role in the film is the basis of understanding the film. On the basis of these two levels of identification, the main body of the film agrees that the signified symbols and their underlying implications are food itself, eating utensils, cooking methods, eating forms, dining scenes and so on: emotional desire, and so on. Ritual character, political implications, national culture and etiquette norms. In addition, due to the subversion of the subject's position and the lack of imagination, the difference in the acceptance of the viewing process will lead to disapproval of the use of dietary symbols in the film.
【學(xué)位授予單位】：江蘇師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J905

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