發(fā)布時(shí)間：2018-07-03 15:47

  本文選題：新時(shí)期 + 都市愛(ài)情電影��； 參考：《西南大學(xué)》2014年碩士論文

【摘要】：藝術(shù)源于生活,又服務(wù)生活。電影藝術(shù)作為一種特殊的藝術(shù)形式,是反映生活的重要載體,生活中的真、善、美和假、丑、惡會(huì)在電影中得到贊揚(yáng)或批評(píng)。新時(shí)期以來(lái),隨著改革開(kāi)放的逐步深入和市場(chǎng)經(jīng)濟(jì)的建立,中國(guó)城市化進(jìn)程日益加快,中國(guó)的社會(huì)語(yǔ)境、都市居民的生活方式及審美觀念發(fā)生了深刻的變化,看電影成為都市人群重要的休閑、娛樂(lè)的方式,電影影片所傳達(dá)的信息也對(duì)觀眾的生活方式和審美觀念產(chǎn)生影響。愛(ài)情作為人們生活不可或缺的一部分,是電影創(chuàng)作的重要的構(gòu)成內(nèi)容,都市愛(ài)情電影的發(fā)展也就成為了新時(shí)期以來(lái)都市人群審美觀念變化的重要反映。面對(duì)好萊塢商業(yè)大片的非審美化傾向,在消費(fèi)文化語(yǔ)境下的中國(guó)都市愛(ài)情電影正在發(fā)生巨大的改變,本文從藝術(shù)美學(xué)的視角和電影類(lèi)型學(xué)角度切入,在仔細(xì)梳理新時(shí)期以來(lái)國(guó)產(chǎn)都市愛(ài)情電影創(chuàng)作脈絡(luò)的基礎(chǔ)上,力圖對(duì)其審美特征、成因及其嬗變做系統(tǒng)性分析研究。 針對(duì)新時(shí)期以來(lái)中國(guó)都市愛(ài)情電影流變的脈絡(luò)梳理,筆者主要從三個(gè)階段對(duì)其進(jìn)行總結(jié),分別是：(1)20世紀(jì)80年代,中國(guó)電影開(kāi)啟暗藏已久的“愛(ài)情”,背負(fù)時(shí)代主題的愛(ài)情影片興起,此階段的“都市”成為愛(ài)情電影故事的背景地；(2)20世紀(jì)90年代,城市經(jīng)濟(jì)迅速發(fā)展,在市場(chǎng)驅(qū)動(dòng)下,都市愛(ài)情電影數(shù)量激增,都市愛(ài)情電影作為滿(mǎn)足城市平民娛樂(lè)需要的大眾文藝形式應(yīng)運(yùn)而生,漸成一種類(lèi)型電影,影片呈現(xiàn)出市場(chǎng)化特征,表現(xiàn)內(nèi)容生活化,藝術(shù)風(fēng)格通俗化和文化特色的本土化；(3)21世紀(jì)以來(lái),中國(guó)都市愛(ài)情電影中“都市”成為重要表現(xiàn)對(duì)象,對(duì)愛(ài)情的表達(dá)方式百花齊放,物質(zhì)杠桿仍居主位,并且出現(xiàn)后現(xiàn)代和網(wǎng)絡(luò)特色相互交織的特征。 通過(guò)對(duì)其創(chuàng)作格局的梳理,可以將新時(shí)期中國(guó)都市愛(ài)情電影的審美特征總結(jié)為：(1)八十年代中國(guó)都市愛(ài)情電影樸素原始,主要呈現(xiàn)出“宏大敘事”,愛(ài)情成為政治理性審美的附庸；思想破封,現(xiàn)實(shí)主義審美傳統(tǒng)仍是主流；傷痕與反思,人性開(kāi)始回歸等特征。(2)九十年代中國(guó)都市愛(ài)情電影的市場(chǎng)化特征顯現(xiàn),呈現(xiàn)出審美文化轉(zhuǎn)型：從精英審美轉(zhuǎn)向大眾化審美；審美多元化；迷失與異化的現(xiàn)代性反思,宏大敘事審美被消解等特征。(3)二十一世紀(jì)工業(yè)化、信息化背景下,后現(xiàn)代和網(wǎng)絡(luò)特色相互交織,都市愛(ài)情電影的表達(dá)方式百花齊放,但物質(zhì)杠桿仍居主位,都市愛(ài)情電影呈現(xiàn)出消費(fèi)主義盛行,重物質(zhì)而輕精神,審美情感成為“審美消費(fèi)品”：后現(xiàn)代主義審美泛濫,都市人群情感陷入焦慮；視覺(jué)文化的沖擊顯出揚(yáng)感官而棄深度的特征。通過(guò)對(duì)審美特征及成因的分析可以看到新時(shí)期以來(lái)中國(guó)都市愛(ài)情電影的審美嬗變趨勢(shì)為物質(zhì)審美在不斷發(fā)展,精神審美卻在逐漸壓縮,同時(shí)凸顯出當(dāng)代都市人群愛(ài)情的審美困境。 基于以上中國(guó)都市愛(ài)情電影的審美特性,筆者從兩個(gè)維度進(jìn)行了成因分析：(1)社會(huì)語(yǔ)境的轉(zhuǎn)變。包括社會(huì)組織、經(jīng)濟(jì)的轉(zhuǎn)型對(duì)其的推動(dòng)作用；西方影視審美文化對(duì)中國(guó)都市愛(ài)情電影的沖擊與影響；隨著市場(chǎng)經(jīng)濟(jì)的建立,商業(yè)文明也沖擊了整個(gè)電影業(yè)。(2)人們的審美方式的轉(zhuǎn)型。主要表現(xiàn)在都市人群審美方式的改變與人文精神的審美失落。
[Abstract]:Art, as a special form of art, is an important carrier of life, and the real, good, beautiful and false in life, the ugly and the evil will be praised or criticized in the film. Since the new period, the process of China's urbanization has been accelerated with the gradual deepening of reform and opening up and the establishment of the market economy. The social context of the country, the way of life and the aesthetic concept of urban residents have undergone profound changes. Watching movies become an important leisure, entertainment, and the information conveyed by film films have an influence on the way of life and the aesthetic concept of the audience. Love is an indispensable part of human life and is a film creation. The development of urban love film has become an important reflection of the changes in the aesthetic concept of urban crowds since the new period. In the face of the non aesthetic tendency of the Hollywood commercial blockbusters, the Chinese urban love movies are undergoing great changes in the context of consumer culture. This article from the perspective of art and aesthetics and the type of film. On the basis of carefully combing the context of the creation of domestic urban love films since the new period, the author tries to make a systematic analysis of its aesthetic characteristics, causes and changes.
In view of the context of the evolution of Chinese urban love movies since the new period, the author mainly summarizes it from three stages: (1) in 1980s, Chinese movies opened the "love" which had been hidden for a long time, and the love films that bear the theme of the Times rose, and the "city" of this stage became the background of the love film story; (2) 20 In the 90s of the 20th century, urban economy developed rapidly. Under the drive of the market, the number of urban love films increased sharply. As the popular literature and art form to meet the needs of urban civilian entertainment, urban love movies emerged as the times require, gradually becoming a type of film. The film showed the characteristics of the market, the content of life, the popularity of artistic style and cultural characteristics. (3) since twenty-first Century, "city" in Chinese urban love movies has become an important object of expression. The expression of love is all over a hundred flowers, material leverage is still in the main position, and the characteristics of post modern and network characteristics intertwine.
Through the combing of its creation pattern, the aesthetic features of Chinese urban love films in the new period can be summed up as follows: (1) in 80s, the urban love film in China was simple and primitive, mainly showing "grand narrative", and love became the appendage of Political Rational aesthetic; thought breaking seal, realistic aesthetic tradition is still the mainstream; scar and reflection, The characteristics of human nature began to return. (2) the market characteristics of urban love movies in China appeared in 90s, showing the transformation of aesthetic culture: from elite aesthetic to popular aesthetics; aesthetic pluralism; modernity reflection of lost and alienated, grand narrative aesthetics being eliminated. (3) under the background of industrialization and information in twenty-first Century, Post-modern and network characteristics intertwined, the expression of urban love movies all flowers bloom, but material leverage still lives in the main position, urban love movies show the prevalence of consumerism, heavy material and light spirit, aesthetic feelings become "aesthetic consumer goods": post modernist aesthetic flooding, urban crowd emotion into anxiety; visual culture The impact shows the characteristics of raising the senses and abandoning the depth. Through the analysis of the aesthetic characteristics and causes, we can see that the aesthetic evolution trend of the Chinese urban love movies since the new period is the continuous development of the material aesthetics, the spiritual aesthetics is gradually compressed, and the aesthetic predicament of the contemporary urban crowd is highlighted.
Based on the aesthetic characteristics of the above Chinese urban love films, the author makes an analysis of the causes from two dimensions: (1) the transformation of social context, including social organization, the promotion of economic transformation, the impact and impact of western film and television aesthetic culture on Chinese urban love films; and with the establishment of market economy, commercial civilization is also rushed. The whole movie industry has been hit. (2) the transformation of people's aesthetic mode is mainly manifested in the change of aesthetic ways and the aesthetic loss of humanistic spirit.
【學(xué)位授予單位】：西南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類(lèi)號(hào)】：J901

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