【摘要】：第一電影符號(hào)學(xué)于20世紀(jì)60年代結(jié)構(gòu)主義語(yǔ)言學(xué)逐漸在非語(yǔ)言學(xué)領(lǐng)域受到歡迎時(shí)產(chǎn)生,它在電影學(xué)領(lǐng)域運(yùn)用了索緒爾結(jié)構(gòu)主義語(yǔ)言學(xué)的原理,使電影界產(chǎn)生了一種新的理論——電影符號(hào)學(xué),電影符號(hào)學(xué)以其科學(xué)化、精細(xì)化的分析方法,打破了經(jīng)典電影理論的局限,使電影分析從此走上了科學(xué)化的道路,然而,因其理論是從語(yǔ)言學(xué)領(lǐng)域搬借而來(lái),自然有生搬硬套和不符合電影特質(zhì)等諸多缺陷。 本論文將對(duì)第一電影符號(hào)學(xué)的主要理論展開(kāi)研究,這些理論包含克里斯蒂安·麥茨的“電影語(yǔ)言”觀和“敘事段組合理論”、帕索里尼的“詩(shī)的電影”理論以及艾柯的“電影符碼三分節(jié)”理論,這些理論代表著第一電影符號(hào)學(xué)的主要貢獻(xiàn),筆者相信對(duì)于它們的評(píng)述就是對(duì)整個(gè)第一電影符號(hào)學(xué)的評(píng)述。 在論文第一部分,筆者將引述并闡釋這三人的理論。麥茨認(rèn)為電影符碼的分節(jié)并不存在,所以他將研究的重點(diǎn)放在電影句法層面的規(guī)則。如果說(shuō)麥茨注重電影中的組合關(guān)系,那么帕索里尼就是聚合關(guān)系的探索者,他提出“詩(shī)的電影”的理論,認(rèn)為導(dǎo)演需要突破傳統(tǒng)的敘事中心主義,倡導(dǎo)具有強(qiáng)烈的個(gè)人主義風(fēng)格的電影。而艾柯從和麥茨截然不同的方向進(jìn)行探索,他在皮爾士符號(hào)三分法的基礎(chǔ)上,提出了電影的十大代碼,又由此為契機(jī),將電影符碼分為三個(gè)層次。 由于他們的理論存在著邏輯漏洞以及其它弱點(diǎn),所以在論文的第二部分,筆者將對(duì)他們的理論進(jìn)行分析,將其弱點(diǎn)進(jìn)行剖析并汲取其有用之處。麥茨的敘事段組合理論從微觀層面上存在著分類混亂、類別不全等問(wèn)題,在宏觀層面上存在著過(guò)于僵化的問(wèn)題,但其對(duì)于經(jīng)典電影的分析還是較為可行的。帕索里尼的“詩(shī)的電影”的觀點(diǎn)固然難以實(shí)現(xiàn),但卻具有前瞻性。艾柯的“電影符號(hào)三分節(jié)”理論從理論本源上就值得懷疑,但是其對(duì)電影畫面的分析有著不小的意義。“敘事段組合理論”和“電影符號(hào)三分節(jié)”具有很大的實(shí)用價(jià)值,所以在這部分的最后一節(jié),筆者將以電影《教父》為例,用這兩種理論來(lái)分析《教父》的敘事結(jié)構(gòu)和符碼意象。 在第三部分,本文將重點(diǎn)放在第一電影符號(hào)學(xué)如何在類型電影和作者電影中得到運(yùn)用,它們之間結(jié)合起來(lái),可以構(gòu)成一個(gè)局部性的電影符號(hào)系統(tǒng),這種局部性的電影符號(hào)系統(tǒng)可以作為這兩類電影的原型來(lái)看待。筆者相信,這也是第一電影符號(hào)學(xué)可以重新煥發(fā)光芒之處。
[Abstract]:The first film semiotics came into being in the 1960s when structuralist linguistics became popular in the field of non-linguistics. It applied Saussure's principles of structuralist linguistics in the field of cinematology. The film industry has produced a new theory-film semiotics. Film semiotics, with its scientific and refined analytical methods, has broken the limitations of the classical film theory and made the film analysis go on the scientific road from now on. Because its theory is borrowed from the field of linguistics, there are many defects, such as copying mechanically and not conforming to the characteristics of films. This thesis will study the main theories of the first film semiotics, including Christian Metz's view of "film language" and "narrative paragraph combination theory". Pazorini's theory of "poetic film" and Eco's theory of "three sections of film code" represent the main contribution of the first film semiotics. The author believes that the comment on them is the comment on the whole first film semiotics. In the first part of the thesis, the author will quote and explain the three theories. Metz thought that the subdivision of movie code did not exist, so he focused his research on the rules of syntactic level. If Metz pays attention to the combinatorial relationship in the film, then Pacorini is the explorer of the convergent relationship. He puts forward the theory of "the film of poetry", and believes that the director needs to break through the traditional narrative centrism. Advocate a film with a strong individualistic style. On the basis of Peirce's three-point symbol method, Eco puts forward the ten codes of the film, and takes this as an opportunity to divide the movie code into three levels. In the second part of this paper, the author will analyze their theories, analyze their weaknesses and draw on their useful points. Metz's theory of narrative paragraph combination has the problems of classification confusion and incomplete classification at the micro level, and the problem of being too rigid on the macro level, but its analysis of classical films is still more feasible. Pacorini's "the Film of Poetry" is difficult to achieve, but it is forward-looking. Eco's theory of "three-section of film symbol" is doubtful from its theoretical origin, but its analysis of film picture is of great significance. The combination Theory of narrative paragraphs and the three Segment of Movie symbols are of great practical value, so in the last section of this part, the author will take the film Godfather as an example. The two theories are used to analyze the narrative structure and code image of Godfather. In the third part, this paper focuses on how the first film semiotics is applied in the genre film and the author film, and the combination of them can form a partial film symbol system. This kind of local film symbol system can be regarded as the prototype of these two kinds of films. The author believes that this is where the first film semiotics can shine again.
【學(xué)位授予單位】：山東大學(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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