【摘要】：阿爾弗雷德·希區(qū)柯克，，是西方電影領(lǐng)域乃至世界舉足輕重的藝術(shù)大師。希區(qū)柯克憑借其犀利的洞察力發(fā)現(xiàn)和刻畫人性的復(fù)雜，擅于利用恐怖氣氛與精湛的拍攝技巧將驚悚懸疑片發(fā)揚(yáng)光大，開辟了電影類型的新紀(jì)元。拋開表面奇觀式劇情和亮麗的出演陣容，希區(qū)柯克電影作品實(shí)質(zhì)表現(xiàn)了對(duì)于人的各種心理問題的深入理解與思辨。 希區(qū)柯克20世紀(jì)40年代到60年代的電影作品堪稱其創(chuàng)作的巔峰時(shí)期，具有學(xué)術(shù)解讀的代表性。本論文將從精神分析角度闡釋希區(qū)柯克這個(gè)時(shí)期的電影作品。第一，運(yùn)用弗洛伊德關(guān)于欲望機(jī)制的理論，探討希區(qū)柯克電影作品中的兩性關(guān)系、母子糾葛與犯罪欲望的心理根源。第二，從整體上闡釋希區(qū)柯克電影關(guān)于“看”的不同層次心理機(jī)制，由淺入深解讀希區(qū)柯克電影中關(guān)于“看”的心理：從電影中頻頻出現(xiàn)的窺視情節(jié)來揭示窺視欲的本性；從個(gè)體對(duì)個(gè)體、他者對(duì)個(gè)體的凝視來闡述其對(duì)于個(gè)體的心理作用；運(yùn)用拉康鏡像理論剖析希氏影片中欲望機(jī)制的最高層——自我認(rèn)同的兩次構(gòu)成。第三，研究希區(qū)柯克如何通過獨(dú)有方式調(diào)節(jié)觀眾情緒與其多重客體對(duì)電影的推動(dòng)作用。
[Abstract]:Alfred Hitchcock is an important master of art in western film field and even in the world. Hitchcock, with his sharp insight, has discovered and portrayed the complexity of human nature. He is good at using the atmosphere of terror and superb shooting skills to expand thriller suspense films and open up a new era of movie genre. Despite the dramatic plot and bright cast, Hitchcock's film works represent a deep understanding and speculation of people's psychological problems. Hitchcock's film works from the 1940s to the 1960s were regarded as the peak period of his creation and were representative of academic interpretation. This thesis will explain Hitchcock's film works from the angle of psychoanalysis. First, using Freud's theory of desire mechanism, this paper discusses the psychological root of Hitchcock's sexual relationship, mother and child entanglement and criminal desire. Secondly, it explains the psychological mechanism of Hitchcock's film on different levels of "watching" from a whole perspective, and interprets the psychology of "watching" in Hitchcock's films from a superficial perspective: revealing the nature of snooping desire from the frequent appearance of the plot of snooping in the film; This paper expounds the psychological function of the individual from the gaze of the individual and the other, and analyzes the highest level of desire mechanism in his films by using the Lacan mirror theory, which is the two times of self-identity. Thirdly, it studies how Hitchcock adjusts the moods of audience and its multiple objects in a unique way.
【學(xué)位授予單位】：溫州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J905

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本文編號(hào)：2249698