【摘要】：《火燒紅蓮寺》(1928)開(kāi)始,華語(yǔ)電影務(wù)必留給武俠電影一席之地�？v覽武俠電影的百年發(fā)展,是胡金銓與他的代表作《俠女》,將武俠電影推出國(guó)門(mén),推向世界。胡金銓是一位極具代表性的文人武俠導(dǎo)演,其在歷史文化方面的獨(dú)到見(jiàn)解,在傳統(tǒng)美學(xué)方面的深厚素養(yǎng),深深影響了《俠女》的創(chuàng)作。大陸學(xué)界對(duì)《俠女》的研究少之又少,對(duì)《俠女》的深刻解讀已屬創(chuàng)新。但本文的創(chuàng)新點(diǎn)不僅體現(xiàn)在研究對(duì)象的選擇上,還在于筆者使用敘事學(xué)的研究方法解讀《俠女》的中國(guó)傳統(tǒng)美學(xué)內(nèi)蘊(yùn),從而得到了更加嚴(yán)謹(jǐn)和具體的研究體系與研究結(jié)論。在文章的緒論中,筆者將闡釋選題背景和意義、研究現(xiàn)狀和趨勢(shì),同時(shí)中國(guó)傳統(tǒng)美學(xué)及其方法論進(jìn)行界定并探討本文的具體研究方法。主體部分,第一章對(duì)胡金銓的個(gè)人經(jīng)歷進(jìn)行介紹并從“電影作者”的角度進(jìn)行分析,探析《俠女》的創(chuàng)作;第二章從故事情節(jié)、人物塑造和物件細(xì)節(jié)上重點(diǎn)闡釋《俠女》的敘事元素;第三章從“境”的營(yíng)造、“意”的渲染和“象”的組合上分析影片的精妙細(xì)致的視聽(tīng)呈現(xiàn);第四章揭示影片主題,提煉總結(jié)出研究對(duì)象《俠女》的中國(guó)傳統(tǒng)美學(xué)內(nèi)蘊(yùn),闡釋導(dǎo)演的哲理性的思考;第五章筆者將分析《臥虎藏龍》等多部新世紀(jì)武俠電影對(duì)《俠女》各方面的傳承。要而言之,本研究的緒論、第一章為引;第二、三章表現(xiàn)“匠人之心”,即從敘事學(xué)的敘事元素和敘事策略上,對(duì)影片進(jìn)行系統(tǒng)詳細(xì)的歸納賞析,并論證這種敘事的技巧與視聽(tīng)的表達(dá)是東方情韻與傳統(tǒng)意境的;第四章從影片蘊(yùn)涵的哲理情思表現(xiàn)“詩(shī)意武林”,即探究影片內(nèi)涵中的儒家文化與佛禪意味;第五章則主要尋求本研究的時(shí)代價(jià)值與意義�？觳褪缴虡I(yè)風(fēng)靡其下,電影評(píng)論方面,中國(guó)傳統(tǒng)美學(xué)作為中國(guó)電影的重要理論仿佛漸漸燭盡光窮;電影創(chuàng)作方面,電影藝術(shù)的門(mén)檻似乎越來(lái)越低,愿意以藝匠的身份從事電影行業(yè)的人越來(lái)越少,藝術(shù)意味濃郁、民族文化深刻的電影創(chuàng)作困難重重。本文從中國(guó)傳統(tǒng)美學(xué)切入對(duì)電影遺產(chǎn)進(jìn)行研究,所得到的內(nèi)容與結(jié)論也許不過(guò)是以蠡測(cè)海、以管窺天,只愿能有更實(shí)際的意義,能給武俠電影的實(shí)際創(chuàng)作帶來(lái)動(dòng)力,給相關(guān)學(xué)者的探究和鉆研帶來(lái)啟示。
[Abstract]:Fire Red Lotus Temple (1928), the Chinese film must be reserved for martial arts film space. The century-old development of martial arts movies is Hu Jinquan and his masterpiece, "woman of the Warrior", which push the martial arts film to the world. Hu Jinquan is a representative literary martial arts director whose unique views in history and culture and deep accomplishment in traditional aesthetics have deeply influenced the creation of chivalrous woman. There are few researches on chivalrous women in mainland China, and the profound interpretation of chivalrous women is an innovation. But the innovation of this paper is not only reflected in the choice of research objects, but also in the use of narratology research method to interpret the Chinese traditional aesthetic connotation of "chivalrous woman", thus obtaining a more rigorous and specific research system and research conclusions. In the introduction of the article, the author will explain the background and significance of the topic, the current situation and the trend of the research. At the same time, the traditional Chinese aesthetics and its methodology will be defined and the specific research methods of this paper will be discussed. In the main part, the first chapter introduces Hu Jinquan's personal experience and analyzes it from the angle of "movie author", and analyzes the creation of "chivalrous woman". The second chapter focuses on the narrative elements of the novel from the aspects of story plot, character shaping and object details, and the third chapter analyzes the subtle and detailed audio-visual presentation of the film from the aspects of the creation of the "scene", the rendering of "meaning" and the combination of "image". The fourth chapter reveals the theme of the film, summarizes the research object of "chivalrous woman" of the Chinese traditional aesthetic connotation, explains the director's philosophical thinking; In the fifth chapter, the author will analyze the inheritance of many new century martial arts films, such as Crouching Tiger, Hidden Dragon, etc. To put it in perspective, the introduction of this study, the first chapter is cited; Second, three chapters show "the heart of the craftsman", that is, from the narrative elements and narrative strategies of narratology, the film is systematically and detailedly summarized and appreciated, and proves that this narrative technique and audio-visual expression are oriental and traditional artistic conception. The fourth chapter shows "poetic Wulin" from the philosophical thinking implied in the film, that is, to explore the Confucian culture and the meaning of Buddhism in the connotation of the film, and the fifth chapter mainly seeks the value and significance of this study. Fast food business is popular under the film review, Chinese traditional aesthetics as an important theory of Chinese film seems to be gradually candlelight; In the aspect of film creation, the threshold of film art seems to be lower and lower, and fewer people are willing to engage in film industry as artisans. From the Chinese traditional aesthetics, this paper studies the film heritage, and the content and conclusion may be just to measure the sea, to look into the sky, only wish to have more practical significance, can give the actual creation of martial arts film to bring power, To the relevant scholars to explore and study to bring inspiration.
【學(xué)位授予單位】：曲阜師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類(lèi)號(hào)】：J905

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本文編號(hào)：2300809