【摘要】：在新世紀(jì)近二十年的發(fā)展中,國產(chǎn)公路電影既充分吸收借鑒了好萊塢公路電影的敘事模式,又對這一電影類型進(jìn)行了本土化探索。國產(chǎn)公路電影在敘事主題的多元化、角色設(shè)置的差異性、影像空間的在地性及敘述視角的平民化等方面形成了本土化特征,而這些特點(diǎn)構(gòu)成了國產(chǎn)公路電影獨(dú)特的精神內(nèi)核和美學(xué)特質(zhì),并彰顯了影視作品對當(dāng)下中國現(xiàn)實(shí)的人文關(guān)懷,體現(xiàn)了公路電影與當(dāng)下中國在歷史時空中的互動。本文主要從以下五個部分探析國產(chǎn)公路電影的本土化過程:緒論部分綜述了公路電影的研究現(xiàn)狀,并對文章中所指稱的公路電影作出概念性界定;第一章在宏觀層面對好萊塢公路電影和國產(chǎn)公路電影的發(fā)展進(jìn)行梳理,初步總結(jié)出公路電影的類型特征與風(fēng)格特色并指出本論題的研究價值;第二章通過對比分析好萊塢和國產(chǎn)公路電影在主題選擇、角色設(shè)置等方面的異同,探求國產(chǎn)公路電影在主題意蘊(yùn)上的本土化特征;第三章在公路電影的流動性影像空間中審視當(dāng)下中國的物理空間和精神空間,進(jìn)而分析國產(chǎn)公路電影在空間表達(dá)上的本土化特質(zhì);第四章立足于影片的主題表達(dá)和鏡語空間,探究國產(chǎn)公路電影的紀(jì)實(shí)風(fēng)格與寫意特色,分析國產(chǎn)公路電影內(nèi)蘊(yùn)的美學(xué)精神;第五章從國產(chǎn)公路電影對現(xiàn)代性社會精神的揭示、對民族性空間鏡像的映現(xiàn)和對邊緣性人物群像的描繪三個方面,總結(jié)公路電影在中國大陸發(fā)展過程中所特有的本土化特征。
[Abstract]:In the development of recent twenty years in the new century, the domestic highway film not only absorbed the narrative mode of Hollywood highway film, but also explored the localization of this film type. In the aspects of the diversification of narrative theme, the difference of role setting, the localization of image space and the populace of narrative angle of view, the domestic highway film has formed the localization characteristic. These characteristics constitute the unique spiritual core and aesthetic characteristics of the domestic highway film, and show the humanistic concern of the film and television works to the present Chinese reality, and reflect the interaction between the highway film and the present China in the historical time and space. This article mainly analyzes the localization process of the domestic highway movie from the following five parts: the introduction part summarizes the highway movie research present situation, and makes the conceptual definition to the highway movie referred to in the article; The first chapter combs the development of Hollywood highway film and domestic highway film at the macro level, summarizes the type characteristics and style characteristics of highway film and points out the research value of this thesis. The second chapter analyzes the similarities and differences between Hollywood and domestic highway movies in theme selection, role setting and so on, and explores the localization characteristics of domestic highway movies in theme implication. The third chapter examines the physical and spiritual space of China in the mobile image space of highway film, and then analyzes the localization of the spatial expression of the domestic highway film, the fourth chapter is based on the theme of the film and mirror language space. This paper probes into the documentary style and freehand brushwork characteristics of the domestic highway movies, analyzes the aesthetic spirit of the domestic highway movies. Chapter five reveals the modern social spirit from the domestic highway movies. This paper summarizes the localization characteristics of highway movies in the development process of mainland China from three aspects: the reflection of the national space mirror image and the description of the group images of the marginal characters.
【學(xué)位授予單位】：曲阜師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J905

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本文編號：2239456