【摘要】：李安是一位享譽(yù)世界的華人導(dǎo)演,憑借作品的廣泛影響在國(guó)際電影界擁有很高的知名度,迄今為止共執(zhí)導(dǎo)12部電影長(zhǎng)片。影片主題復(fù)雜、風(fēng)格各異,既有良好的票房表現(xiàn),又有深層的藝術(shù)思考,實(shí)現(xiàn)了藝術(shù)與商業(yè)的統(tǒng)一,表現(xiàn)出李安駕馭各類(lèi)電影題材的超人才華。作為一位移居美國(guó)的華人導(dǎo)演,他游離于中西文化之間,在兩者的碰撞與沖突中謹(jǐn)慎地自我調(diào)適。其作品流露出強(qiáng)烈的身份意識(shí),表現(xiàn)了人性的理性與欲望,致力于身份檢視與自我認(rèn)同的探討。迄今為止,理論界對(duì)李安電影的研究多集中于影片內(nèi)容的美學(xué)風(fēng)格和文化認(rèn)同的分析,鮮少?gòu)淖晕艺J(rèn)同角度展開(kāi)研究。筆者在當(dāng)代審美文化視域下,以相關(guān)理論為指導(dǎo),從自我認(rèn)同角度對(duì)李安作品中的身份意識(shí)進(jìn)行了理論詮釋。 第一章,隨著哲學(xué)、心理學(xué)和文化研究等學(xué)科中自我認(rèn)同相關(guān)理論的發(fā)展,自我認(rèn)同有其現(xiàn)代具體內(nèi)涵,在當(dāng)代審美文化中,既作為認(rèn)同危機(jī)的問(wèn)題而存在,又發(fā)展為一種新的理論研究視角與方法；電影作為表現(xiàn)自我認(rèn)同的文化形式,強(qiáng)烈表現(xiàn)并影響著現(xiàn)代人的自我認(rèn)同。李安個(gè)人及其電影內(nèi)容都表現(xiàn)出對(duì)身份意識(shí)的探討,對(duì)當(dāng)代電影極具借鑒意義。 第二章,導(dǎo)演李安特殊的生活與工作經(jīng)歷讓他擁有多重身份。伴隨混雜身份帶來(lái)的自我迷失,他經(jīng)歷了家庭與學(xué)校教育中的文化沖擊與個(gè)性壓抑、執(zhí)導(dǎo)電影后探索與創(chuàng)新兩個(gè)階段的發(fā)展,逐步自我覺(jué)醒,于電影中實(shí)現(xiàn)自我認(rèn)同,并不斷借助電影自我塑造。電影是李安個(gè)人意愿的最大伸張,是其潛意識(shí)自由馳騁的夢(mèng)境,更是其自我認(rèn)同的主要路徑。 第三章,李安電影中的影像人物具有非主流弱勢(shì)群體的多元而混雜的身份,面對(duì)著共性的自我認(rèn)同危機(jī)。按照上映時(shí)間,影片先后從家庭倫理、國(guó)家話(huà)語(yǔ)和自然環(huán)境三個(gè)方面表現(xiàn)人性的自我,逐步深入地進(jìn)行自我認(rèn)同模擬,但李安電影對(duì)認(rèn)同危機(jī)的解決并沒(méi)有提出具體的方法,而是引發(fā)觀眾思考并使其反思自身的自我認(rèn)同。 第四章,李安電影從融通中西的文化表現(xiàn)、多元語(yǔ)言運(yùn)用以及堅(jiān)持傳統(tǒng)敘事等方面,對(duì)現(xiàn)代人自我認(rèn)同具有重要的引導(dǎo)意義。同時(shí)我們也要看到電影表現(xiàn)自我認(rèn)同的悖論：引導(dǎo)自我認(rèn)同與導(dǎo)致認(rèn)同危機(jī)并存。這源自于電影藝術(shù)與商業(yè)雙重屬性的兩面性�，F(xiàn)代人探索自我認(rèn)知與實(shí)現(xiàn)自我認(rèn)同要求電影必須將藝術(shù)與商業(yè)恰當(dāng)?shù)亟Y(jié)合于一身。 最后,后現(xiàn)代社會(huì)的視覺(jué)文化轉(zhuǎn)向成為不可否認(rèn)的事實(shí),這一轉(zhuǎn)向帶來(lái)人類(lèi)自我認(rèn)同方式的革命性變化。其中電影對(duì)現(xiàn)代自我認(rèn)同方式變化有著潛移默化的影響,其內(nèi)部認(rèn)同機(jī)制還需要認(rèn)同理論的進(jìn)一步研究。反觀我國(guó)電影現(xiàn)狀,在對(duì)自我認(rèn)同的表現(xiàn)與探討方面,國(guó)產(chǎn)電影應(yīng)對(duì)李安電影加以合理借鑒,理性反思自身問(wèn)題,尋求自身的發(fā)展之道。
[Abstract]:Ang Lee is a world-renowned Chinese director who has a high profile in the international film industry because of the wide influence of his works. So far, he has directed 12 feature films. The film has complex themes and different styles. It has both good box office performance and deep artistic thinking, realizes the unity of art and commerce, and shows Lee an's superhuman talent of controlling all kinds of movie subjects. As a Chinese director who immigrated to the United States, he drifted between Chinese and Western cultures and adjusted himself carefully in the collision and conflict between the two cultures. His works reveal a strong sense of identity, expressing the rationality and desire of human nature, and devoting himself to the discussion of identity examination and self-identity. Up to now, the research on Ang Lee's films has focused on the analysis of aesthetic style and cultural identity of the film content, and rarely from the perspective of self-identity. From the perspective of contemporary aesthetic culture and under the guidance of relevant theories, the author interprets the identity consciousness in Ang Lee's works from the angle of self-identity. The first chapter, with the development of the theory of self-identity in philosophy, psychology and cultural studies, self-identity has its modern concrete connotation. In contemporary aesthetic culture, it exists as a problem of identity crisis. It has developed into a new perspective and method of theoretical research. As a cultural form of self-identity, film strongly expresses and influences the self-identity of modern people. Ang Lee and his films both show a discussion of identity consciousness, which is of great significance to contemporary movies. The second chapter, director Ang Lee's special life and work experience makes him have many identities. With the self-loss brought by mixed identity, he experienced the cultural shock and personality depression in family and school education, the development of two stages of exploration and innovation after directing the film, gradually self-awakening, and realized self-identity in the film. And constantly with the help of film self-molding. Film is the greatest extension of Ang Lee's personal will, the dream of his subconscious freedom, and the main path of his self-identity. In the third chapter, the image characters in Ang Lee's films have multiple and mixed identities of non-mainstream vulnerable groups, and face the common self-identity crisis. According to the release time, the film successively expresses the humanity ego from the family ethics, the national discourse and the natural environment three aspects, carries on the self-identity simulation step by step, but Ang Lee's film has not proposed the concrete method to solve the identity crisis. Instead, it causes the audience to think and reflect on their own self-identity. In the fourth chapter, Ang Lee's films have important guiding significance for modern people's self-identity from the aspects of integrating Chinese and Western cultural performance, multilingual application and adherence to traditional narration. At the same time, we should also see the paradox of self-identity: leading to self-identity and leading to identity crisis. This comes from the dual nature of film art and commerce. Modern man's exploration of self-cognition and realization of self-identity require that film must combine art and commerce properly. Finally, the turn of visual culture in postmodern society has become an undeniable fact, which has brought about a revolutionary change in the way of human self-identity. The film has a subtle influence on the change of modern self-identity, and its internal identification mechanism needs further study of identity theory. Looking back at the present situation of Chinese films, in the aspect of self-identity performance and discussion, domestic films should use Lee's films reasonably for reference, rationally reflect on their own problems, and seek their own way of development.
【學(xué)位授予單位】：揚(yáng)州大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J905

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