论新中国传记片的创作（1949-2010）

【作者】 吴凑春；

【导师】 周斌；

【作者基本信息】 复旦大学 ， 中国现当代文学， 2011， 博士

【摘要】 本文在吸收前人研究成果的基础上,对新中国(大陆)传记片创作(1949-2010)进行了较为全面的梳理和反思,试图为当今同类型影片的创作提供一些有益的启示和借鉴。本文不孤立地考察新中国传记片创作实践,而是既细读一个个传记片文本,又关注该片制作的时代、机构以及传主身份；既注意影片塑造了怎样的传主形象,又透析“这一个”传主是如何塑造的；既重视传主形象塑造本身的意义,又将其放在整个传记片创作历史中加以考察。整个论文由绪论、正文四章及结语共六章组成。第一章“绪论”,提出本文传记片立场,从而确定全文的研究对象和范围,同时介绍本课题的研究现状和写作思路,并对中国现代传记片创作进行了简要的回顾。第二章考察“27年(1949-1976)”传记片创作历程及断裂原因。由三个主要部分组成：首先,将“十七年”传记片按“长影”厂、“上海”、“八一”厂三个地域分别论述,并分析了此期传记片创作在电影史上的经典价值所在,以及传记片创作中断的历史原因；其次,从作为传记片这一电影类型的角度分析《武训传》的制作及被批判命运全过程；最后,论述并提炼了郑君里在传记片领域的艺术特色和历史贡献。第三章是对新时期(1977-1999)传记片创作的考察。以“主旋律”战略实施为界,该期传记片创作分为“多元化”创作阶段和“主旋律”创作阶段。用以批判极“左”历史的老一辈革命家、古代人物、近代维新派、资产阶级革命派、并无宣教色彩人物等等各式传记片,汇成了多元化创作局面；在“主旋律”战略下,革命领袖、英模传记片大量涌现,在数量繁荣背后却蕴含着诸多问题和危机。第四章是考察新世纪(2000-2010)传记片创作在产业化进程中的嬗变,对这十年创作的新亮点进行了较为充分的论述,并重点将丁荫楠跨世纪的传记片创作实践,做了较为辩证的阐述与评价。第五章是从传主的选择、形象塑造以及叙事模式等多角度,对新中国传记片创作的整体解读,对六十余年来传主叙事流变做了一个较为简要的概括,并对“成长”叙事模式进行了较为细致地梳理和反思。第六章“结语”,将中外(与好莱坞)传记片创作进行了异同比较,进而提出了中国传记片创作的未来之路：改变题材意识,树立类型观念；纠正类型误读；端正类型立场；加强类型设计,拥有全球眼光。只有努力塑造个性生动、可信可感的多元化传主形象,在历史真实和艺术真实的有机融合上下功夫,传记片创作才能赢得现在与未来。总之,本文希望能为中国传记片进一步更好地发展提供一定的理论和历史的借鉴。更多还原

【Abstract】 On the foundation of previous researches made by others, this thesis on the basis of the biographical films in the People’s Republic of China(refers to Chinese Mainland) (1949-2010) makes a comprehensive comb and reflection, trying to offer some beneficial enlightenment and reference to the same type film creation in today.This thesis will not understand the biographical films creation practice isolated, but both read each biographical film, and care of the film production era, concerned organizations and announcing the identity; both care of what the image is in the film, and dialysis "this image how to create"; both care of the significance of image itself, and put it in the whole history biographical film creative exploration.The whole thesis includes three parts:the preface, text by four chapters and epilogue, composed of six chapters.The first chapter of "introduction" puts forward biographical film standpoint, a more detailed division, so as to determine the scope of the study, at the same time introduces situation of this topic and makes the brief review of biographical film creation before 1949.The second chapter investigates the biographical films creation course and the fracture reasons in"27 years(1949-1976)".Comprised of three parts:First,discusses the biographical film as three regional Changying,Shanghai,Bayi, analyses the biographical films creation in the classic values and the history of the biographical films creation interrupt causes. Secondly, analyses production and adopted by criticism fate from the perspective of the type of the biographical film on WuXunZhuan.Finally, discusses and refines the art and historical contributions of director ZhengJunli in biographical films field.The third chapter focus on the biographical films creation in new period (1977-1999).With theme strategy implementation,the biographical films creation is divided into two stages:diversity creative stage and theme creative stage.The older generation revolutionist to criticize the extreme left history, ancient historical perspectives,modern bourgeois revolutionists, and no mission colour character, the various biographical films,collected pluralism situation;In theme strategy,the biographical films revolutionary leader and YingMo emerge in a large amount,but contains a number of problems and crisis behind the prosperity. The fourth chapter focus on the biographical films creation in the process of industrialization in new century (2000-2010), makes a dialectical expounding and evaluation on the director Ding Yinnan, his biographical films creation practice.The fifth Chapter,from the choice of major character,the image and narrative model, overall reads the biographical films creation,and makes a brief summary in narrative mode, especially a meticulously combed and reflection in growth narrative pattern.The sixth chapter, epilogue compares the biographical films creation between Chinese-foreign (refers to Hollywood), and puts forward the future way of the biographical films creation in China:remove subject consciousness, establish the type idea; change types misreading, correct type’s stance; strengthen type design, has the global vision. Only hardly models the vivid, credible personality and notice the distinctness in historical true enlightened image and artistic true, the biographical films creation will win now and future. In short, this thesis hopes to provide certain theoretical and historical reference, so that the biographical films will develop better in China.更多还原