【作者】 张芳馨；

【导师】 张福贵；

【作者基本信息】 吉林大学 ， 中国现当代文学， 2013， 博士

【摘要】 本论文的主要研究方向和目标，是全面梳理、分析、论述中国电影对比叙事的核心位置、价值功能、模式流变、审美形态等。鉴于学界对电影对比叙事研究整体性、系统性的缺乏，笔者力图采用纵向观照和横向比较的方法，通过对数量众多的中国电影对比叙事文本的宏观面貌与微观性征的学术分析和学理阐释，勾画描绘出中国电影对比叙事的艺术特点和发展方向。论文主要依据电影叙事学理论，运用文化研究和影片文本细读的方法对中国电影的对比叙事进行研究，综合借鉴了多种关于对比叙事的理论成果，通过细致的阐释来触及和揭示中国电影对比叙事模式类型以及独特美学风格。对比是叙事的一个重要手法，它在文本的修辞、结构中都起到非常重要的作用，有不可替代的特殊功能。电影叙事中，对比是非常普遍存在的叙事方法，与文字媒介不同的是，视听语言的特殊构成方式使其形式和内涵更加丰富。本文挖掘出中国对比叙事的传统根源，又从理论依据、剧作结构、视听语言、剪辑制作等诸多方面进行论证，归纳总结出了电影对比叙事的基本类型和功能，将对比乃电影叙事的核心形式这一判断作为全文研究的基础，全文的重点在于对中国百余年电影的对比叙事加以整体观照，归纳出戏剧式对比叙事模式、影像式对比叙事模式以及解构式对比叙事模式三种基本形态，并对每种形态形成的原因进行了分析，证明了传统与现代文化的交叠、电影理念的变更、意识形态控制的强弱、经济的发展变化、创作主体主观意识的区别、受众接受的影响等等因素或构成合力或在某一时期起到主导作用，影响了中国对比叙事的变化发展，构成了形形色色的叙事样态和百花齐放的电影作品。最后本文对电影对比叙事的模式化问题进行了粗浅的讨论，认为模式化未必是阻挡创新之路的障碍，我们应该看到好莱坞类型片的蓬勃发展离不开叙事模式的助力；良好的观影者接受离不开模式的吸引力，总的来说电影的发展需要创新，但同样需要模式的推动力。对比叙事因存在的普遍性而导致易形成模式，善用和滥用对比模式都会成为电影良好发展的阻力，二者之间的尺度确实不好把握，需要电影人深入的思考和不断的实践。更多还原

【Abstract】 The main research directions and objectives, is a comprehensive sort, analyze,discuss Chinese film narrative core of contrast, the value function, model rheology,aesthetic morphology. In view of academic study of film narrative contrast holistic,systematic lack, the author seeks to use the vertical and horizontal comparisonmethod contemplation, through a large number of Chinese film narrative textscontrast macro and micro face sexuality academic analysis and theoreticalinterpretation, sketch depicts the Chinese art of narrative film contrast characteristicsand development direction.Thesis mainly based film narrative theory, cultural studies and videos using themethod of Chinese text reading comparative narrative film studies, comprehensivenarrative draws on a variety of theoretical results on the comparison, through carefulinterpretation to reveal the Chinese film touches and contrast narrative pattern typeand a unique aesthetic style.Contrast is an important narrative technique, it ’s rhetoric in the text, structure,have played a very important role, there is an irreplaceable special features. Filmnarrative, contrast is very prevalent narrative methods, and text media is different,because of visual language constitutes a way to make it a special form and contentricher.This contrast narrative excavated Chinese traditional roots, and from atheoretical basis, play structure, visual language, editing, and many other aspects ofproduction feasibility studies, summarized the narrative of the film contrast the basictypes and functions, the contrast is the core of the film narrative this research formsthe basis for judgment as a text, the text focuses on China over a hundred years to theoverall narrative film contemplation contrast, contrast summed theatrical narrativemode, image-contrast patterns and deconstructive narrative narrative pattern contrast three basic forms, and the reasons for the formation of each shape were analyzed toprove that the traditional and modern culture overlap, the film idea to change thestrength of ideological control, economic development and change, creating thedistinction of subjective consciousness, the audience accepted among other factorsaffecting or formed together or play a leading role in a given period, the impact ofchanges in China ’s development of narrative contrast, constitutes a diverse narrativePatterns and flourishing films. Finally, we compare the film narrative superficialmodeling issues discussed that modeling is not blocking the road of innovationscourge, we should see the Hollywood genre narrative pattern flourish without help;well moviegoers to accept the appeal can not be separated mode, in general the film ’sdevelopment needs innovation, but also need to model the driving force. Contrastnarrative caused by the existence of universality is easy to form patterns, use andabuse of contrast mode will become the movie good development of resistancebetween the two scales really good grasp of filmmakers needed depth thinking andconstant practice.更多还原