發(fā)布時(shí)間：2018-07-03 15:27

  本文選題：徐浩峰 + 武俠電影��； 參考：《山東藝術(shù)學(xué)院》2017年碩士論文

【摘要】：中國(guó)武俠電影作為中國(guó)特有的類型電影,至今有九十余年的歷史,在中國(guó)電影的發(fā)展史上占有極其重要的地位。從武俠電影發(fā)跡至今先后出現(xiàn)過(guò)五次創(chuàng)作浪潮,它不僅豐富了中國(guó)武俠電影的美學(xué)樣式,更給中國(guó)電影帶來(lái)新的歷史性改變。新世紀(jì)以來(lái),武俠電影的樣式隨著科技進(jìn)步的發(fā)展也出現(xiàn)了多種形態(tài),《臥虎藏龍》、《英雄》等高規(guī)格影片,引領(lǐng)一時(shí)武俠電影之浪潮,但自此之后武俠電影又一次進(jìn)入瓶頸期。在這樣的時(shí)代背景下,出現(xiàn)了一位后起之秀——徐浩峰,可謂是往武俠電影的發(fā)展樣式中注入一股清流。他因自己是武將家族的武學(xué)淵源以及對(duì)武學(xué)文化的長(zhǎng)期研究,寫了數(shù)部武俠小說(shuō),成為炙手可熱的武俠小說(shuō)家,開創(chuàng)了硬派武俠小說(shuō)之先河。近年來(lái)涉足導(dǎo)演編劇行業(yè),其武俠電影也擁有獨(dú)特的電影表現(xiàn)手法,風(fēng)格冷峻簡(jiǎn)潔。冷色調(diào)的畫面中,將歷史、文化、武術(shù)等元素融于一體,增添了其電影的觀賞性。以再現(xiàn)真實(shí)的武術(shù)場(chǎng)景為特色,以還原真實(shí)的武林為追求,塑造了其獨(dú)具個(gè)性的武俠情懷和敘述方式。徐浩峰的電影有著與以往一般武俠電影所與眾不同的藝術(shù)特色。在題材選擇、人物設(shè)置、武打設(shè)計(jì)等方面彰顯了煥然一新的風(fēng)格特征,在特定歷史時(shí)期反映的傳統(tǒng)文化的“禮崩樂(lè)壞”也觸動(dòng)了觀者的內(nèi)心。本文是徐浩峰電影體現(xiàn)出鮮明的藝術(shù)特色的研究。首先,結(jié)合徐浩峰的成長(zhǎng)經(jīng)歷,探究其在電影作品中所形成的創(chuàng)作觀念和藝術(shù)觀念的原因。其次,以徐浩峰的多重身份為切入點(diǎn),分析他對(duì)傳統(tǒng)中國(guó)武俠電影的傳承與發(fā)展,探析其開創(chuàng)武俠電影的一種亞類型“武行片”的形態(tài)特征,并通過(guò)影片中著重表現(xiàn)的冷兵器和引人注目的女性形象的分析,及其電影鏡頭、畫面、道具等方面的分析研究,認(rèn)識(shí)其影片中由武行建構(gòu)的武俠世界,探尋其實(shí)質(zhì)內(nèi)涵。通過(guò)對(duì)徐浩峰電影藝術(shù)特色的探析,嘗試把握其在新時(shí)期中國(guó)武俠電影創(chuàng)作中的價(jià)值與意義。徐浩峰電影作品中的創(chuàng)作意圖、敘事風(fēng)格、拍攝技術(shù)等,打破了中國(guó)武俠電影固有模式。他的一次嘗試,將中國(guó)武俠電影帶向了另一個(gè)嶄新的視角,也成為近些年來(lái)武俠電影創(chuàng)作中最令人期待的一股新力量。此文嘗試對(duì)徐浩峰電影進(jìn)行其藝術(shù)特色的探析,并通過(guò)徐浩峰電影獨(dú)具特色的風(fēng)格特征,尋找其在中國(guó)武俠電影新時(shí)期的準(zhǔn)確位置與價(jià)值。
[Abstract]:As a special type of Chinese film, Chinese martial arts film has a history of more than 90 years and plays an extremely important role in the history of Chinese film development. There have been five waves of creation since the birth of the martial arts film, which not only enriches the aesthetic style of the Chinese martial arts film, but also brings new historical changes to the Chinese film. Since the new century, with the development of science and technology, the style of martial arts film has also appeared various forms, "Crouching Tiger, Hidden Dragon", "Hero" and other high standard films, leading to the wave of martial arts film, but since then the martial arts film has once again entered the bottleneck period. In such an era background, a rising-up-Xu Haofeng, can be said to inject a clear stream into the development style of martial arts movies. He wrote several martial arts novels because he was the origin of martial arts family and a long-term study of martial arts culture. He became a hot martial arts novelist and pioneered the hard-school martial arts novels. In recent years, the martial arts film has its unique performance, and its style is austere and succinct. In the cold-tone picture, history, culture, martial arts and other elements in one, added to its film appreciation. With the characteristic of reproducing the real martial arts scene and the pursuit of restoring the true martial arts Lin, it molds its unique martial arts feelings and narrative way. Xu Haofeng's films have different artistic features from the previous martial arts films. In the aspects of theme selection, character setting, martial arts design and so on, it shows a new style characteristic, and the traditional culture reflected in the specific historical period also touches the viewer's heart. This paper is a study of Xu Haofeng's films with distinctive artistic characteristics. First of all, combined with Xu Haofeng's growing up experience, it explores the reasons of his creative and artistic ideas in his film works. Secondly, taking Xu Haofeng's multiple identities as the starting point, this paper analyzes his inheritance and development of the traditional Chinese martial arts films, and probes into the morphological characteristics of a subtype of "martial arts films" that he pioneered. And through the analysis of the cold weapon and the attractive female image in the film, and the analysis of the film lens, picture, props and so on, we know the martial arts world constructed by the martial arts in its film, and explore its essence connotation. This paper attempts to grasp the value and significance of Xu Haofeng's artistic features in the Chinese martial arts film creation in the new period. Xu Haofeng's creative intention, narrative style and shooting techniques break the Chinese martial arts film pattern. His attempt to bring the Chinese martial arts film to another new angle of view has become the most anticipated new force in the creation of martial arts films in recent years. This article attempts to explore the artistic characteristics of Xu Haofeng's films, and through the unique style features of Xu Haofeng's films, to find their exact position and value in the new period of Chinese martial arts movies.
【學(xué)位授予單位】：山東藝術(shù)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J911

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 陳霄元;;用“武行”代替“武林”——從《師父》與《火燒紅蓮寺》的互文性談起[J];視聽;2016年09期

2 金丹元;馬亞會(huì);;中國(guó)新武俠片的偏差和生存之道[J];民族藝術(shù)研究;2016年04期

3 張龍賀;李世成;;《師父》:一種武俠類型創(chuàng)新模式的解讀[J];吉林藝術(shù)學(xué)院學(xué)報(bào);2016年04期

4 李振禮;王永收;;論徐浩峰武俠電影的美學(xué)特質(zhì)與精神意蘊(yùn)[J];吉林藝術(shù)學(xué)院學(xué)報(bào);2016年03期

5 王嫻;;論反諷敘事策略在電影《倭寇的蹤跡》中的運(yùn)用[J];戲劇之家;2016年11期

6 袁冶;;中國(guó)武俠電影創(chuàng)作新趨勢(shì)研究[J];現(xiàn)代傳播(中國(guó)傳媒大學(xué)學(xué)報(bào));2016年05期

7 虞吉;文靜;;關(guān)于新千年以來(lái)武俠電影流變的理性審視[J];藝術(shù)百家;2016年03期

8 黃絲雨;;近十年武俠電影主題的新探索[J];電影文學(xué);2016年09期

9 金丹元;;對(duì)當(dāng)下中國(guó)“新武俠電影”弊端之反思[J];上海文化;2016年04期

10 開寅;;《師父》:“作者”風(fēng)范的武術(shù)電影[J];電影藝術(shù);2016年02期

相關(guān)重要報(bào)紙文章 前1條

1 張成;;拍出功夫片的類型焦慮[N];中國(guó)藝術(shù)報(bào);2013年

相關(guān)碩士學(xué)位論文 前6條

1 何怡然;劉家良電影作品研究[D];南京藝術(shù)學(xué)院;2016年

2 白冰;新武俠電影形態(tài)特征的流變分析[D];曲阜師范大學(xué);2016年

3 龍會(huì);徐皓峰小說(shuō)創(chuàng)作論[D];山東師范大學(xué);2015年

4 張梅;暴力在呈現(xiàn)中消解的藝術(shù)[D];重慶大學(xué);2014年

5 吳超;中國(guó)武俠電影冷兵器影像及其文化研究[D];南京師范大學(xué);2011年

6 溫江斌;在守恒與變異之間[D];南昌大學(xué);2007年

，

本文編號(hào)：2094110