王家衛(wèi)電影的符號研究
發(fā)布時間：2018-12-07 12:31
【摘要】：法國電影大師讓雷諾阿說過：“一個導(dǎo)演一生只拍一部影片”，這句話恰好的評價了王家衛(wèi)執(zhí)著于同一種母題符號創(chuàng)作的特點。1995年，王家衛(wèi)曾在一次訪問中說：“連續(xù)五部戲下來，發(fā)現(xiàn)自己一直在說的，，無非就是里面的一種拒絕，害怕被拒絕，以及被拒絕之后的反應(yīng)，在選擇記憶與逃避之間的反應(yīng)�！雹偈冀K如一的主題反映使王家衛(wèi)的電影有著極其鮮明的特點。也正因如此，王家衛(wèi)的電影吸引著眾多研究者的關(guān)注。 本文研究內(nèi)容涉及香港城市文化，研究范圍限定于王家衛(wèi)1990年拍攝的《阿飛正傳》、1994年拍攝的《重慶森林》、1997年拍攝的《春光乍泄》、2000年拍攝的《花樣年華》以及2004拍攝年的《2046》等五部電影。 在香港特殊的歷史發(fā)展背景下，王家衛(wèi)的電影總是或明或暗地貫穿著一種無法消逝的漂泊感，并由此形成了其電影獨特的母題符號。香港文化自身特有的消費符碼，直接影響到王家衛(wèi)電影中各種造型符號的使用。而香港特有的歷史發(fā)展所帶來的文化上的兼容并包在其電影多元音樂元素的使用上也得到充分體現(xiàn)。由此，本文的研究也就確定母題符號、造型符號以及音樂符號三個方向。 本文將運用皮爾斯的“三重關(guān)系符號理論”，以香港獨特的城市文化為研究背景，注重王家衛(wèi)電影文本的分析，解析符號在其電影母題、造型及音樂中的使用方式與特征的探究，挖掘符號在其電影文本中的作用和價值，展現(xiàn)王家衛(wèi)電影的獨特藝術(shù)魅力，充分認識和把握王家衛(wèi)作為“作者電影”的藝術(shù)風(fēng)格特征。
[Abstract]:French film master Jean Reynolds once said, "A director can only make one film in his whole life." this sentence just appraises Wang Jiawei's obsessiveness in the creation of the same motif. In 1995, Wang Jiawei once said in an interview: "after five consecutive plays, I find that what I have been saying is nothing more than a kind of rejection, fear of being rejected, and the reaction after being rejected." The reaction between choosing memory and evading. "1 consistent thematic reflection makes Wang Jiawei's film extremely distinctive. Because of this, Wang Jiawei's film attracted the attention of many researchers. This paper deals with the urban culture of Hong Kong. The scope of the research is limited to Wang Jiawei's "A Fei True Story" shot in 1990, "Chongqing Forest" in 1994, and "Spring Light and Flower" in 1997. In 2000, in the mood for Love, and in 2004, in the year of < 2046 > and other five films. Against the background of Hong Kong's special historical development, Wang Jiawei's films always run through an indelible sense of drift, and form the unique motif of his films. The unique consumption code of Hong Kong culture directly affects the use of various modeling symbols in Wang Jiawei's films. The cultural inclusion brought about by the historical development of Hong Kong is also fully reflected in the use of multiple musical elements in its films. Therefore, the study of this paper also determines the motif symbol, modeling symbol and music symbol three directions. This article will use Pierce's "triple relation symbol theory", take Hong Kong's unique city culture as the research background, will pay attention to Wang Jiawei movie text analysis, analyzes the symbol in its movie motif, This paper probes into the ways and features of use in modeling and music, excavates the role and value of symbols in the text of his films, reveals the unique artistic charm of Wang Jiawei's films, and fully understands and grasps the artistic style characteristics of Wang Jiawei as a "author's film".
【學(xué)位授予單位】：云南師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J905
[Abstract]:French film master Jean Reynolds once said, "A director can only make one film in his whole life." this sentence just appraises Wang Jiawei's obsessiveness in the creation of the same motif. In 1995, Wang Jiawei once said in an interview: "after five consecutive plays, I find that what I have been saying is nothing more than a kind of rejection, fear of being rejected, and the reaction after being rejected." The reaction between choosing memory and evading. "1 consistent thematic reflection makes Wang Jiawei's film extremely distinctive. Because of this, Wang Jiawei's film attracted the attention of many researchers. This paper deals with the urban culture of Hong Kong. The scope of the research is limited to Wang Jiawei's "A Fei True Story" shot in 1990, "Chongqing Forest" in 1994, and "Spring Light and Flower" in 1997. In 2000, in the mood for Love, and in 2004, in the year of < 2046 > and other five films. Against the background of Hong Kong's special historical development, Wang Jiawei's films always run through an indelible sense of drift, and form the unique motif of his films. The unique consumption code of Hong Kong culture directly affects the use of various modeling symbols in Wang Jiawei's films. The cultural inclusion brought about by the historical development of Hong Kong is also fully reflected in the use of multiple musical elements in its films. Therefore, the study of this paper also determines the motif symbol, modeling symbol and music symbol three directions. This article will use Pierce's "triple relation symbol theory", take Hong Kong's unique city culture as the research background, will pay attention to Wang Jiawei movie text analysis, analyzes the symbol in its movie motif, This paper probes into the ways and features of use in modeling and music, excavates the role and value of symbols in the text of his films, reveals the unique artistic charm of Wang Jiawei's films, and fully understands and grasps the artistic style characteristics of Wang Jiawei as a "author's film".
【學(xué)位授予單位】：云南師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J905
【參考文獻】
相關(guān)期刊論文 前10條
1 王海洲;后現(xiàn)代主義與王家衛(wèi)電影[J];北京電影學(xué)院學(xué)報;2001年03期
2 趙娜;;作者導(dǎo)演——王家衛(wèi)[J];當代小說(下);2011年02期
3 王美嶺;;由王家衛(wèi)電影看香港都市文化[J];電影文學(xué);2004年07期
4 王瑩;;記憶與流行的符號——談王家衛(wèi)電影臺詞的風(fēng)格[J];電影文學(xué);2008年01期
5 周琪;;從王家衛(wèi)的電影看后現(xiàn)代主義[J];電影文學(xué);2008年05期
6 孫文憲;作為結(jié)構(gòu)形式的母題分析——語言批評方法論之二[J];華中師范大學(xué)學(xué)報(人文社會科學(xué)版);2001年06期
7 盧曉云;王家衛(wèi)電影藝術(shù)解讀[J];南京廣播電視大學(xué)學(xué)報;2005年01期
8 姚軍;解讀另類導(dǎo)演王家衛(wèi)的影像風(fēng)格[J];南京理工大學(xué)學(xué)報(社會科學(xué)版);2005年03期
9 黃蘇瑾;;王家衛(wèi)電影語言探討[J];新疆藝術(shù)學(xué)院學(xué)報;2006年02期
10 嚴紹t
本文編號：2367210
本文鏈接：http://www.wukwdryxk.cn/wenyilunwen/dianyingdianshilunwen/2367210.html
教材專著
