本文關(guān)鍵詞： 中國(guó)西部電影 審美文化 本體變革 類(lèi)型探索 多元碰撞　出處：《西北大學(xué)》2015年博士論文　論文類(lèi)型：學(xué)位論文

【摘要】：“西部”無(wú)論是對(duì)于西方還是東方都包孕了一種值得玩味的“想像”與“重構(gòu)”,西部的荒蠻與神秘、質(zhì)樸與瑰麗、親和力和沖擊力同時(shí)構(gòu)成了西部民族文化影像記憶的一道復(fù)沓而重疊的風(fēng)景。審美文化視野中的西部電影嬗變研究以其電影標(biāo)本和電影文化發(fā)展史的綜合分析和比較研究為切入點(diǎn),力圖展現(xiàn)中國(guó)西部電影歷經(jīng)三十余年時(shí)代風(fēng)云詭譎,不同歷史階段中國(guó)西部電影審美文化呈現(xiàn)出不同的樣態(tài),從而還原到歷史文化現(xiàn)場(chǎng),考量基于時(shí)間鏈條中西部電影理論空間話語(yǔ)建構(gòu)的特征和要素,凸顯電影文本跨文化研究的理論價(jià)值和文化學(xué)意義,從而開(kāi)掘出富有活力的學(xué)術(shù)領(lǐng)地,并提出未來(lái)中國(guó)西部電影發(fā)展的諸多前瞻性問(wèn)題。本課題的研究側(cè)重于對(duì)文化形態(tài)“微觀層次”的考察,著重對(duì)花樣紛呈、支離破碎的具體文化表象的體驗(yàn),從而在對(duì)文化具像的“深描”(thick discription)中揭示出研究題材本身的宏大性。換言之,本課題不是單純對(duì)于中國(guó)西部電影史的梳理和建構(gòu),而是對(duì)西部電影三十余年作品的文本進(jìn)行細(xì)致的讀解,并勾連起紛繁而蕪雜的文化表象,以及一切由電影藝術(shù)所衍生出來(lái)的文化現(xiàn)象,如電影插曲、主題歌、配樂(lè)、歌謠、流行音樂(lè)、服裝、人物、空間造型、道具等都將被納入研究的宏闊視野之中。本研究廣泛借用文化人類(lèi)學(xué)、文化詩(shī)學(xué)、美學(xué)、語(yǔ)義學(xué)、史學(xué)等研究手段,尋懌三十余年來(lái)中國(guó)西部電影審美文化的嬗變軌跡,概括其審美文化流向,建立中國(guó)西部電影審美文化演變的宏觀理論框架,考察三階段的分期依據(jù)、創(chuàng)作規(guī)律、嬗變動(dòng)因及特征等。第一階段：中國(guó)西部電影審美嬗變的經(jīng)典階段(1984—1989)。該時(shí)期經(jīng)歷了理論上的命名、創(chuàng)作上的實(shí)踐、美學(xué)本體的探索、類(lèi)型化的嘗試,形成了中國(guó)西部電影為世人矚目的藝術(shù)品牌和美學(xué)風(fēng)格,極大地影響了90年代后中國(guó)西部電影的類(lèi)型建構(gòu)和話語(yǔ)體系。在審美文化發(fā)展上總體表現(xiàn)為：農(nóng)耕文化的價(jià)值取向和藝術(shù)趣味、現(xiàn)實(shí)主義創(chuàng)作方法與原則、新影像敘事的美學(xué)追求。經(jīng)典時(shí)期的西部電影在美術(shù)造型、音樂(lè)和音響、攝影美學(xué)等方面突出地表現(xiàn)出了電影本體意識(shí)的自覺(jué),催生出了一系列深具藝術(shù)魅力和美學(xué)深度的電影作品。這一時(shí)期的電影導(dǎo)演、攝影師、美術(shù)師、編劇、造型師身處一個(gè)激情火熱的年代,噴薄而出的藝術(shù)才情在時(shí)代的巨浪中逶迤而去,并創(chuàng)造出了無(wú)愧于那個(gè)時(shí)代的電影和藝術(shù),在電影藝術(shù)本體的探索中摸索前行,奠定了中國(guó)電影藝術(shù)與美學(xué)的整體格局與走向。第二階段：中國(guó)西部電影審美文化嬗變的轉(zhuǎn)折時(shí)期(1990—1999)。該時(shí)期的中國(guó)西部電影導(dǎo)演紛紛北上,尋找電影革新的出路。90年代的中國(guó)西部電影受到市場(chǎng)經(jīng)濟(jì)和政治話語(yǔ)的擠壓,伴隨著文學(xué)轟動(dòng)效應(yīng)的消解和啟蒙理性的坍塌,創(chuàng)作者們開(kāi)始自覺(jué)追隨時(shí)代的步伐,或作繭自縛、畫(huà)地為牢；或急流勇退、走向世俗,社會(huì)文化的裂變促使電影人開(kāi)始重新思索電影的出路。這一時(shí)期的西部電影創(chuàng)作開(kāi)始逐步向類(lèi)型化方向拓展：出現(xiàn)了西部主旋律、西部人文電影、西部武俠片、西部魔幻片、西部少數(shù)民族電影等類(lèi)型。中國(guó)電影也出現(xiàn)癥候性的電影創(chuàng)作傾向：主旋律和重大歷史題材創(chuàng)作的熱潮,娛樂(lè)電影作為一種電影意識(shí)而被自覺(jué)的重視,電影的類(lèi)型意識(shí)開(kāi)始深化。整個(gè)90年代的中國(guó)西部電影創(chuàng)作經(jīng)歷了啟蒙精神的離散、現(xiàn)實(shí)主義精神的放逐、多元價(jià)值的混亂與騷動(dòng)等思想的震顫,在審美文化發(fā)展上主要體現(xiàn)為：文化之困境和突圍之掙扎,審美形態(tài)的不斷探索,類(lèi)型化電影的初步嘗試。第三階段：中國(guó)西部電影審美文化嬗變的發(fā)展時(shí)期(2000—2014)。隨著技術(shù)理性的膨脹,反啟蒙的宗教價(jià)值開(kāi)始復(fù)興,同時(shí)伴生著消費(fèi)的拜物教,工具理性一躍成為消費(fèi)社會(huì)中的新寵。在商品為主宰的社會(huì)中,藝術(shù)生產(chǎn)面臨著全面市場(chǎng)化和商業(yè)化的趨勢(shì),文化的商品屬性日益凸顯,影視產(chǎn)品作為傳統(tǒng)的大眾媒介走在文化消費(fèi)的最前端并引領(lǐng)著社會(huì)消費(fèi)和時(shí)尚風(fēng)潮,推動(dòng)了消費(fèi)主義在全社會(huì)的興盛與蔓延。在消費(fèi)浪潮的席卷下,中國(guó)電影面臨著藝術(shù)與商業(yè)的共生與分離、本土與外來(lái)的共贏與博弈,中國(guó)西部電影也面臨著一次更為深刻的轉(zhuǎn)型和分化。這一時(shí)期的西部電影創(chuàng)作從審美文化發(fā)展上主要表現(xiàn)為：多元化的價(jià)值取向、審美敘事風(fēng)格的多樣化、類(lèi)型探索的各種可能性、泛喜劇和商業(yè)元素的放大、多元語(yǔ)境下影像語(yǔ)言的嬗變等。面對(duì)復(fù)雜多變的電影創(chuàng)作生態(tài)環(huán)境,中國(guó)西部電影如何才能創(chuàng)造出與我們這個(gè)時(shí)代相匹配的偉大作品?中國(guó)電影如何與我們所遭遇的這個(gè)時(shí)代相稱(chēng),講述中國(guó)正在走向世界的故事,以及在世界之中的中國(guó)故事?除了需要對(duì)西部影視文化進(jìn)行全面資源整合,進(jìn)一步健全西部電影的產(chǎn)業(yè)鏈,拓寬市場(chǎng)渠道和發(fā)行渠道,充分利用新媒體等方式占領(lǐng)文化高地,更重要的是要重估中國(guó)經(jīng)典西部電影的價(jià)值,傳承和堅(jiān)守其一以貫之的“西部精神”根坹和“現(xiàn)實(shí)主義”關(guān)懷,在全球化與西部大開(kāi)發(fā)的語(yǔ)境之下,在當(dāng)前“一路一帶”的時(shí)代大潮中,重新開(kāi)啟一種中國(guó)西部電影與文化的敘事動(dòng)力,以及中國(guó)電影和世界電影對(duì)話的能力與可能。
[Abstract]:"Western" whether for the West or East holds a worth pondering "imagination" and "Reconstruction", in the wild and mysterious, simple and beautiful, affinity and impact of the western culture also constitute a memory image repetition and overlapping scenery. On the view of aesthetic evolution of western movies the culture in a comprehensive analysis of the film samples and film culture in the history of development and comparative study as the breakthrough point, trying to show China western film after more than thirty years of age the volatility, the different historical stages China western film aesthetic culture shows a different kind of state, to the scene to restore historical and cultural features and elements, considering the time chain construction western film theory based on the significance of discourse space, highlighting the movie text of cross-cultural studies, theoretical value and culture, so as to dig a vibrant academic territory, and The number of prospective future China western film development. The research focuses on investigation of the cultural form of "micro level", focuses on the intricate pattern, the specific cultural representation reduced to fragments of the cultural experience, which like "deepdescription" (thick discription) revealed great research subject itself in other words, this issue is not only to organize and construct Chinese western film history, but the text of the western film thirty years works detailed reading, and hook up numerous and miscellaneous cultural phenomenon, and all the movie art derived from the cultural phenomenon, such as film songs, theme song, music, songs, pop music, costumes, characters, space form, props will be included in the research perspective. This study borrows extensively from cultural anthropology, cultural poetics, aesthetics, semantics, history Study on the means of science, for more than thirty years evolution of Yi China western film aesthetic culture, summarizes the aesthetic culture to establish the theoretical framework of macro China western film aesthetic culture evolution, examines three stages according to the law of creation, evolution, motivation and characteristics. The first stage: the stage of the classic Western film aesthetic transmutation China (1984 - 1989). The period naming theory, creative practice, explore the Aesthetic Ontology, try to type, the formation of Chinese western film world attention art brand and aesthetic style, greatly influence the type of construction and discourse system China western movies in general show after 90s. The development of aesthetic culture is: farming culture value orientation and artistic taste, realistic creation methods and principles, the new image narrative aesthetic pursuit of western films in the classic period. Art, music and sound, photographic aesthetics highlighted movie noumenon consciousness, spawned a series of deep artistic charm and aesthetic depth of films. During this period, the film director, photographer, artist, writer, stylist is in a fiery passion in gushing out the artistic talent in the era of the wave winding away, and create a worthy era of art and film, groping in the exploration of film art itself in the front row, laid the China film art and aesthetics of the overall pattern and go to. The second stage: the turning period China western film aesthetic culture evolution (1990 - 1999). During this period, the western film director Chinese have for the Chinese,.90's search for western film movie innovation way squeezed the market economy and political discourse, accompanied by literary sensation Digestion and Enlightenment to collapse, the authors began to consciously follow the pace of the times, or in a cocoon around oneself, or prison; jiliuyongtui, secularization of social culture, promote the film began to rethink the fission film way out. And gradually expand to the type of direction during this period of western film creation: appeared in western main melody, humanities Western movie, Western martial arts films, Western fantasy film, the western minority film types. Chinese movies have appeared symptomatic movie creation tendency: theme and major historical theme creation upsurge, entertainment film as an awareness of being conscious of the importance of film type consciousness began to deepen. Chinese the Western movie creation 90s experienced a discrete initiation spirit, the realistic spirit of exile, multi value chaos and commotion of thought such as tremor, in the aesthetic culture Show as follows: struggling Cultural Dilemma and breakthrough, constantly explore the aesthetic form, try the type film. The third stage: the development period China western film aesthetic culture evolution (2000 - 2014). With the expansion of technology and rationality, anti enlightenment value religious revival, also associated with consumption fetishism, instrumental rationality has become the new darling of the consumer society. In the commodity dominated society, art production is facing a comprehensive market and business trend, the commodity property of culture has become increasingly prominent, video products as traditional mass media go to guide social consumption and fashion and in front of the cultural consumption, promote the prosperity of the whole society and consumerism in the spread. In the wave of consumption, Chinese film facing the paragenesis and separation of art and commerce, local and foreign and win in the game. In the western film also faces a more profound transformation and differentiation. During this period, the western film creation from the aesthetic culture and the development of the main performance is: the value orientation of diversification, diversification of aesthetic narrative style, various types of possibilities to explore the general comedy element and commercial amplification, in the context of multiple image language the evolution of ecological environment. In the face of the film creation complex, Chinese western film how to create great works to match our time? How to Chinese movie commensurate with which we encounter in this era, about the China is the world's story, as well as in the world of the China story? In addition to the need for a comprehensive integration of resources the Western movie and television culture, to further improve the western film industry chain, to broaden the market channels and distribution channels, and make full use of new media and culture occupy the heights, It is more important to the revaluation of Chinese classic western movies the value of heritage and adhere to the "spirit of the west" One principle runs through it all. root Xue and "realism" concern, under the globalization and the western development in the current context, "along the way" the tide of the times, to open a narrative of western films and Chinese power culture, as well as the ability to dialogue China film and world cinema and possible.

【學(xué)位授予單位】：西北大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2015
【分類(lèi)號(hào)】：J901

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