【作者】 邹欣星；

【导师】 徐国源；

【作者基本信息】 苏州大学 ， 文艺学， 2011， 博士

【摘要】 在20世纪90年代中国电影纷迭起落的浪潮中,冯小刚无疑扮演了一个成功者的角色。他凭借自己电影在中国电影市场上长胜不败的“票房神话”,成为新世纪中国电影创作的代表人之一。冯小刚电影不仅见证了中国电影创作风格、审美范式的转型,也在电影里呈现了中国社会转型时期都市民间生活的万千气象。本文不以电影学的研究视角,将冯小刚电影叙事艺术特色的展现作为论文的逻辑主线。而是从大众文化的研究视角,将冯小刚电影中的“民间”呈现作为立论的基点。并且通过冯小刚电影中的“民间”生活的展示来分析近20年来中国社会文化思潮的转变和文化格局裂变的痕迹,以及“民间”“体制”、与“精英”三种文化话语力量博弈的社会现状。“民间”作为一种叙事方式自20世纪初进入中国电影创作,经历了新时期前中国电影导演的“政治化民间”叙述,第五代导演的“诗化民间”塑造,第六代导演的“边缘化民间”呈现,成为中国电影叙事中一个常见而又不甚真实的影像符号。受20世纪末中国社会文化思潮转向,中国电影商业本质属性凸显,以及王朔小说等因素的影响,自称为“另类”导演的冯小刚,同样也选择了“民间”作为自己电影创作的表现主题。相较于其他导演影像“民间”因刻意雕琢而出现的影像失真,冯小刚电影中的“民间”形态似乎更贴近当下中国社会现实。他通过对当代都市生活空间变化的展示,对“民间”、“体制”、“精英”三种话语力量动态制衡生存状态的描述,表现了当代民众因交往异化而产生的孤独感,以及回归传统温情社会的渴望。在电影创作中,冯小刚以激发审美主体由“善”到“美”的情感共鸣为价值取向,以诱导观众零距离参予的“快感”体验为审美实现途径,来满足现代观众的娱乐审美需求。为此他将“英雄·美人”与“才子·佳人”这两种传统文学叙事主题,修改为更切近当下中国社会生活现实的“顽主”与“佳人”的情感模式呈现在电影中。将现实生活中人们渴望挣脱体制规范束缚,拥有理想情感的真实欲望植入精心设计的游戏化电影情境。让观众在虚拟的电影情境中实现现实生活中无法得到满足的生活欲望,从而获得一种情感或者说情绪上的满足快感。冯小刚通过对“明星效应”的娴熟运用,社会时尚热点的恰当影射,以“民间”的名义将自己的电影打造成一个具有强大票房号召力的文化品牌,获得了电影投资人的高度信任。但是,电影生产流程中商业资本的进入也彻底改变了冯小刚电影的文化属性。无论他电影中呈现的“民间”形态有多真实,“民间”在他的电影中都只是作为一个诱导观众消费的影像符号而存在。不管是喜剧“民间”叙事主题的选择,还是唯美的声画效果和幽默的情节化叙事表现,或者是仿拟、谐音、双关等语言修辞的运用,都只是冯小刚电影在商业逻辑控制下的一种美学叙事策略的运用。他电影中的“民间”呈现,只是当代中国新兴文化话语力量---大众文化遮蔽自我成长事实的一件外衣。冯小刚电影在中国电影市场的成功,既喻示着一种以“快感”、“娱乐”为核心的新的审美文化力量的出现,也意味着当代社会文化审美风尚由“精英”艺术审美向“大众”身体审美的转向。更多还原

【Abstract】 Undoubtedly, Feng Xiaogang played a successful role in the development of Chinese film industries at the turn of this century. He becomes a representative of Chinese filmmaking by his invincible success in box-office. Feng Xiaogang’s films not only witnessed the transformation of Chinese film making style and aesthetic paradigm, but also described the prolific contents of "folk" life in Chinese social transformation in his films.The perspective of study from popular culture rather than the film.The analysis not the narrative of Feng Xiaogang’s films,but the "folk" life which showed in Feng Xiaogang’s films.Feng Xiaogang’s "folk" films to showed the change of chinese social life and cultural patterns.And it displayed the quo game of "folk culture" "institution culture" and "elite culture" in the last 20 years.Since the time of early 20th century,"Folk",as a kind of narrative style has developed in three steps :before the film experienced a new era of "political Folk " statement, the "folk poetry" of the fifth generation of film directors, the " marginal Folk " sixth generation of film directors, which has become a common narrative film that do not even have a true image symbol.Director Feng Xiaogang who claimed himself as a "exception" also chose the "folk" as its theme in his films.Because of the affluence of the late 20th Century Social and Cultural Trends of the transformation, the highlights of the essential attribute of commercial in Chinese films,the broad social influence of Wang Shuo’s novel at that time , as well as Feng Xiaogang’s personal growth experience, all this factors led him to implant the form of " folk " into his film-making. Compared to other films "folk" forms which presented the image in a distortion form by deliberately crafted, the "folk" form in Feng Xiaogang’s film that seems more closer to the contemporary Chinese society. He described the three culture force of "Folk", "institution", "elite" in real life by using the change of city people’s living place which disclosed people’s loneliness that is generated by alienation and the desire to get back to the traditional warm society. .During the creation period of the film, Feng took "Perfect" as his value orientation of bodies’experiences pleasure way for the realization of "folk" aesthetic appearance, to show contemporary people for good and evil which have implied people’s desire to live in harmony. In order to pander to the aesthetic needs of the audience, In Feng Xiaogang’s film , he modified the traditional literature "Hero·Beauty" and "Genius·Beauty" the narrative mode, into a more proximate reality of life in contemporary folk, the emotional patterns of "yuppie" and "beauty". The reality of "folk" people want to break free of social constraints, with the desire for ideal love life are well implanted in the well-designed film scenario,let the audience satisfied their desire and get a emotion which they can not be met in real life .At the same time, according to the skillful use of the "star effect" and the appropriate effect of social fashion hot- spot topic, Feng made his films a cultural brand that appealed for a hot box-office in the name of folk and was highly trusted by the movie investors. However, the appearance of commercial capital in the process of movie making has completely changed the cultural nature of Feng Xiaogang’s films . Therefore, no matter how realistic of the folk form which is presented in his movie whether the film presents Feng Xiao gang’s "folk" form more realistic, "folk" in his film, only functioned as a symbolic image of consumption which can attract the audience to consume. Whether it is comedy "folk" themes of narrative, or aesthetic of the sound effects, humor, narrative strategy of the plot, or parody, euphony, puns and other rhetorical uses . Feng Xiaogang’s films are only a aesthetic narrative strategies under the control of the business logic . The appearance of "folk" in his films is only the power of the emerging discourse in the new culture ---the popular culture,that is also a coat that can mask the self-growth . The success of Feng Xiaogang’s films in the Chinese movie market symbolize the appearance of new power of aesthetic value ,and it also indicate the transformation of contemporary aesthetic trend from "elite" art aesthetic to "the masses" somaesthetic.更多还原