【作者】 贺彩虹；

【导师】 李掖平；

【作者基本信息】 山东师范大学 ， 中国现当代文学， 2011， 博士

【副题名】从喜剧性营构看1990年以来中国喜剧电影的得与失

【摘要】 电影艺术自诞生之日起,其特性之中就具有商业性和娱乐性,而喜剧电影正是其最具活力和最具观众缘的类型之一。喜剧电影在电影史上的地位和对于电影工业发展的现实意义不容忽视。但中国喜剧电影经历了曲折而漫长的探索过程,文以载道的思想意识和注重教化的政治功能使得喜剧电影受到严重束缚,即使在进入社会转型期之后,电影人的娱乐意识逐渐增强,喜剧电影也呈现出繁荣局面,但仍然存在一些制约发展的痼疾。然而,当前泛喜剧文化的整体社会语境呼唤喜剧电影的良性发展,广大观众期待深入人心的健康喜剧,当前中国的电影产业需要喜剧电影的激活和带动,众多电影人在喜剧电影方面的努力和在广大观众中的深入影响应该受到尊重和认真对待。本论文以喜剧性笑的发生作为逻辑起点,从喜剧性营构的特殊规律和电影艺术的一般规律在喜剧电影中的应用出发,充分发掘喜剧效应的产生机制和具体模式,通过对中外喜剧和喜剧电影理论的研究,结合1990年以来中国喜剧电影的实际,参照喜剧心理学、观众接受学、电影叙事学等观点,从探询喜剧性营构的规律出发进入喜剧电影的文本内部,对通过喜剧叙事、喜剧人物、喜剧情境、喜剧语言等手段制造喜剧效果的策略加以全面剖析,并从接受学的角度对喜剧产生的文化土壤进行探源式追问,从文化学的维度对喜剧内蕴的人文内涵和近年来喜剧电影中出现的文化现象进行深入解析。总结喜剧建构模式的同时对我国喜剧电影发展的优势和不足进行分析,以期促进我国喜剧电影的繁荣与发展。论文分为六个部分,导论部分对于笑的发生原理进行了考辨与梳理,分别从优越理论、不和谐理论、解脱理论等三个不同的理论路向对人类哲学和美学史上的有关笑论进行总结,从中发现笑的来源往往与我们同类的某种缺陷、癖病或不自量力的固执己见以及由此带来的受挫性遭遇有关系。并厘定了喜剧、喜剧性、喜剧电影的相关概念,从世界喜剧电影、中国喜剧电影的源起出发回顾其发展历程。第二章从类型和风格的角度概述中国1990年代以来喜剧电影走向繁盛的现状,指出伴随着社会转型出现的文化多元,电影的娱乐价值渐渐彰显,而喜剧电影的类型在分化和杂糅中不断满足着观众的娱乐诉求;从现实与超现实的两极风格对喜剧电影的不同倾向进行梳理,指出只有将现实与超现实相结合并把握好二者之间的分寸,才能够创作出成功的喜剧作品。最后,在总结类型与风格衍化得失的基础上以黑色幽默喜剧电影为例,分析其艺术贡献和不足之处。第三章为喜剧叙事研究,指出叙事视点的转换、叙事知情权的分配、叙事时空的倒错以及运用间离手段等都是有效的喜剧叙事技巧;而在叙事结构方面,不同的结构样式也会带来效果各异的喜剧情节;一些永恒不变的喜剧母题对应着不同的大团圆结局也是喜剧叙事的不变策略。中国喜剧电影在喜剧叙事方面还不够成熟,而近年来伴随着戏仿叙事的运用,戏仿喜剧电影成为一种新的喜剧模式,不过,风生水起的群起效仿却并未带来真正有力的喜剧创作,反而加重了近期喜剧电影中浮躁庸俗的闹剧风潮。第四章为喜剧人物研究,分别从喜剧人物的身份、喜剧人物的性格以及喜剧人物的生存境遇等几个方面对喜剧电影如何利用人物营构喜剧性效果进行了探析,从身份地位上说,他们往往是地位低下甚至较为卑微的小人物,或者是某些脱离常态的“大人物”;从性格上看,他们或具备某种无法摆脱的癖病,或具有与自己的身份地位距离甚远的大胸怀而与社会环境不合;从生存境遇看,不断受挫陷入窘境又是他们常见的人生遭遇,而从结局看,他们又往往在某种阴差阳错的巧合和偶然中解决危机成就愿望。最后,从喜剧电影中的女性形象出发对中国喜剧电影中喜剧人物塑造的得失进行了辨析,指出对喜剧人物塑造的不足是制约我国喜剧电影发展和提高的重要因素。第五章为喜剧情境研究,在喜剧电影中,由人物、时空环境或意外事件作为推动力,由误会、巧合、错位等策略,制造出某种假定性的喜剧情境乃是喜剧性的重要基础。其中喜剧情境的假定性往往成为最有效的喜剧前提。中国喜剧电影多从喜剧情境的营构出发去制造喜剧效果,从而带来了喜剧电影的“小品化”现象。从积极的意义上看,小品化的喜剧电影往往能够带来即时性的喜剧效果,而另一方面,仅仅依靠喜剧情境的营造,喜剧电影会陷入闹剧化,很难在带来欣悦的同时再给人以感动和回味的空间。第六章为喜剧语言研究,通俗化和陌生化的双重要求使得喜剧性语言的营构既需采用传统的曲艺技巧和修辞策略,又要运用戏仿、拼贴等手段将喜剧语言的营构推至狂欢化的境地。中国喜剧电影在喜剧语言的运用有着丰富的经验,不论是冯小刚的京味幽默,还是冯巩的津味调侃,不论是近年来古今拼贴的话语狂欢,还是方兴未艾的方言荟萃,都在某种程度上引领着喜剧语言的新风潮。然而如果仅仅将喜剧性的营构停留在语言的表层,那么喜剧的层次也必然将难以提升,如果仅仅把创造“语不惊人死不休”的时代流行语作为喜剧电影的终极目标,那么其总体意义必将大打折扣。结语部分对喜剧电影之于当下与未来的意义进行了总结展望,指出当前观众更需要优秀的喜剧电影,而优秀喜剧电影需要创作者想象力和智力的发挥,同时指出,虽然喜剧性的笑可以作为喜剧电影的目的,但属于未来的真正喜剧还应落实到对人与社会现实的关注上来;只有在对人类的热情与悲悯中,怀有诚意的创作,才能创造出既有喜剧效果又富精神内涵的高质量喜剧影片。更多还原

【Abstract】 Since the day it exists, film art is often associated with the nature of commerce and entertainment, and among of which comedy film is one of the most active and most appealing one to viewers. The standing in the film history and practical significance for the film industry development of comedy films cannot be ignored. However, comedy film in China has gone through a long and winding exploring course, the ideology of that writings are for conveying truth and the political function of that bildung is the focus make comedy film seriously bound, even after the society has come into the transformation period, the film has gradually increased entertainment awareness of film makers, as well as the comedy film has already displayed a renewed prosperity, there are still some handicaps which retard development. However, the current pan-comedic culture society as a community-wide context calls for the benign development of comedy film, the audiences are looking forward to highly-acclaimed and healthy comedy films, the current China’s film industry requires to be activated and promoted by comedy film, the efforts which film makers make in the comedy film and the following influence in the mass viewers should be respected and taken seriously.In this thesis, comedic laugh is taken as a logical starting point, departing from special rules of comedy construction and general rules of film art in the application of comedy films, and to fully explore the generation mechanism and specific pattern of comedy effects. By the research of internal and external comedy and comedy film theory, in combination with the practical situation of China’s comedy film since 1990, with reference to the views from comedy psychology, audience acception and film narratology, and then penetrate deeply into the inner text of comedy film proceeding from exploring the rules of comedy film construction, to comprehensively analyze the strategies by which the comedy narration, characters, situation, and language can create a comedy effort. And the cultural background of comedy film is explosively inquired from the perspective of acception, as well as the humanistic connotation and cultural phenomenon which appear in the recent comedy films are deeply analyzed from the view of culturology. Summarize the construction model of comedy, while analyze the strengths and weaknesses of the development of our comedy films, in order to promote prosperity and development of China’s comedy films. This essay are divided into six parts, the introduction part is a comparison study and carding of generation mechanism, summarizes the laugh theory in the history of philosophy and aesthetics from the superiority theory, dissonance theory and liberation theory, in which way it can be found that the source of laugh is associated with some of our similar defects, complaint habits or overconfident stubborn addiction and the resulting frustration of the encounter. And the related definitions of comedy, comedic nature and comedy film are made, and the development processes from the origin of outside and inside films are reflected on.Chapter II summarizes the prosperous status since the 1990s from the perspective of type and style, and points out that with the social transformation and the cultural diversity, the film’s entertainment value is gradually highlighting, and the comedy films in the differentiation and interaction continuously meet the entertainment demands of viewers; Sort out the different films from the real and the surreal styles, and point out that only perfectly combine with the reality and surrealism it can create a successful comedy. Finally, analyze the artistic contributions and shortcomings after summarizing the type and style, for example black humor comedy film.Chapter III is the comedy narrative study, it points out transformation of narrative view points, the distribution of narrate informed right, perversion of narrative time and space, the use of verfremdung means is a valid techniques in the comic narrative; in narrative structure different structures style would bring each a comic; some of the eternal comedy motif corresponds to different narrative comedy with a different happy ending is the same strategy. Native comedy films in narrative respect is not mature enough, but in recent years with the use of narrative parody, parody comedy movie has become a new model, however, through rallied together to follow the example have cause a certain amount of energy, not a real strong comic creation, but heavier the recent comedy film impetuous wave of vulgar farce.Chapter Four is a study on comedy character ,From the character’s identity, character, survival circumstances etc. to analyze how to create a comedy result when use the character , from the status, they tend to be a nobody with low status and more menial, or some“somebody“break away from normality ; From the character , they may have some kinds of addiction diseases which is unable to get rid of, or have a large mind which is far away from their status and unable to conform with the social environment; From the living condition, Suffering a setback and falling into difficult circumstances constantly is a common encounter for them. From the Ending, they are often realizing their dreams in a coincidence or solve crisis by chance with a strange combination of circumstances. Finally, from the image of women in comedy movie we have made an analyze to the gains and losses of the characterization in native comedy movies, and indicated that the key factor restrict the development and improvement of native comedy movies is the lacking mould for comedy characters.Chapter V is on the study of comedy situation, in comedy movie, by the people, time space-time or accident as the driving force, The important bases of comedy is a hypothetical situation produced by mistake, coincidence, dislocation and other strategies. Among it, the hypothetical situation in comedy is often the most effective comedy premise. The native comedy movie is mostly to create a comedy effective from the creation of comedy situation, so that the native comedy is more like an opusculum. On the positive sense, pieces of comedy can often bring immediate effects of the comedy, but on the other hand, just rely on the construction of situation comedy, comedy movie will became a farce and it would be difficult to bring enlightened to people and give them moving and unforgettable at the same time.Chapter VI is a study on the language of comedy, the dual demands of popularization and defamiliarization on comedy’s language makes the creation of comedy’s language should be adopt the Chinese folk art form skill and rhetoric strategy in traditionally, as well as the parodie, collage to put the comedy’s language into the condition of carnival.The native comedy movie has a wealth experience in language usage, whether in Feng Xiaogang’s Beijing style humor or the ridicule of Feng Gong in Jin taste, whether it is an utterance carnival in recent years, or dialect is in the ascendant, they are all guide the way to the new agitation of comedy language in some extent. However if we just stop the creation of humor in the surface of language ,then it is hard to improve the level of comedy, If we just regard create some amazing catchword as our final target, then the total meaning of the comedy would be give a big discount.The conclusion part summarizes and scopes the present and future significance of the comedy film, and points out that the viewers more require good comedy films. While the outstanding comedy films need creative imagination and intelligence, it is also pointed that though laugh can be as the purpose of comedy film, the real comedy of the future should be implemented in the concern of human and society; only in the human passion and compassion as well as cherishing good faith of creation, it can create high-quality comedy films with comedic effects and spiritual connotation.更多还原