【作者】 周营；

【导师】 张福贵；

【作者基本信息】 吉林大学 ， 中国现当代文学， 2014， 博士

【摘要】 人物形象的塑造问题，历来是我国电影艺术创作的核心问题，同时也是交叉于文学和电影剧作理论研究的综合问题。现实中的人是复杂的，电影又恰恰是表现人与人性的，所以电影创作者对人物的塑造在某些程度上说决定了影片的艺术品格。尤其是反面人物形象，因其独特的内在品质及错杂的性格，使影片的故事情节构成一种戏剧冲突对立状态下的动态平衡，正面人物与反面人物的交锋也使影片更具戏剧张力。反面人物，是相对于正面人物而言的，他们违背了人们心目中善良的标准、违背了传统意义上的道德准则及法律规范；反面人物又是一个流动变化和相对的概念，每一部电影作品都有其特定的语境，反面人物的存在依据及对其立场判断只有在特定的语境中才能够成立。同时，对反面人物内心活动及性格形成的刻画，还能够在一定程度上反映社会问题与矛盾，揭示真实生活的多义性，引起观众的反思。这便是反面人物在电影中存在的意义和价值。对反面人物的界定是在对为人“好”与“坏”的判断标准之下进行的，在其形成之初就带有一定的主观印象。爱国主义与民族主义不仅影响了国人对正面人物和反面人物的判断，还影响了中国电影宣扬正义、惩恶除奸的总体价值走向。观众对角色的解读有了预设的立场，主要源自创作者更多的是对既定结果的认同而忽略了角色“好”与“坏”形成过程的塑造，“好”与“坏”都有其独特的历史发展过程和刺激的诱因，这是角色形成的深层意义，也是使角色性格丰满立体的重要依托，如果失去了这一表现阶段，影片对人物角色的界定就会死板且失准，形成一个模式化的象征符号。文学是人的文学，电影是人的电影，避免简单化的构成，使人回归为“人”，研究并梳理华语电影中反面人物形象发展流变是极为必要的。华语电影从诞生发展至今经历了一个漫长而曲折的过程，无论是文化史观还是中国电影史观，都揭示出中国电影独具的民族特质及其深厚的文化积淀。在新中国诞生之前，中国电影的人物形象是比较单一的，人物之间的关系或呈不可调和的对立状态，或呈观念由相争到认同的融合状态。在影片中，不同的人物形象和人物性格服务于不同的叙事需要，因要表现压迫和反压迫的故事主题，人物形象常常善恶分明，具有脸谱化倾向。而在影片的时空表现上，环境造型为人物造型服务，重指示性而轻表现性，表演程式化、表象化。在新中国成立后一个相当长的时期，人们把社会现实仅仅规定为阶级和阶级斗争的现实，这样一来，社会现实就变成一种被缩小的片面的现实，其真实性也大打折扣。《在延安座谈会上的讲话》以阶级和阶级斗争为纲来规定文艺活动，要求文艺作品只能反映阶级矛盾和阶级斗争，按照这个理论，所有的对象主体都被规定为阶级观念的符号。这种理论要求人完全适应阶级斗争，服从阶级斗争，一切个性消融于阶级和阶级斗争之中。电影作品作为文艺创作产物也受到了巨大的影响，人物形象成为了符号的代言体。而在1949-1979年这个时间段，各种人物形象都成了阶级的代表、路线的代表、政治的象征。反面人物尽可能地集中反动阶级的丑恶特征，汇集反动阶级可能有的恶。一直到新时期，华语影片的反面人物才有了更为深刻和立体的表达。新生代电影人对以往概念化表现反面人物的方式极为不屑，对反面人物的塑造方式更加注重人性的复杂性和情感的合理性。他们率先从中国电影的审美传统中脱离出来，彻底打碎了“正面”与“反面”的概念定义，从现代西方的审美观念中汲取营养，关注中国社会底层人物的生存状态，记录中国社会现代化过程中凸显的矛盾和困惑，把处于社会转型期的中国人生存状态描写得淋漓尽致。由于转型期的社会多种思想相互冲击、融合，传统与现代意识互相碰撞，人的道德价值观念体系有了新的变化，“审丑”和“审美”列到同样重要的位置上，甚至更重视“丑”的表现意义，大胆地呈现从前被批判和被打击的人物，以全新的视角来展现人的自我选择和自我认同，和过去相比更具有人文关怀性。在这样的创作中，引出了灰色人物，即传统文艺作品人物评价体系中并不覆盖的部分，主要是正面人物和反面人物之间临界状态的人物形象。随着电影创作发展的不断成熟，反面人物形象也越加丰满复杂，类别繁多，对于影片的作用也变得立体，因此，新时期以来华语电影对反面人物的叙述方式也出现多样化的特征。起初，反面人物充当故事情节的简单矛盾源，主要是负责激化事件矛盾、使故事情节紧张、揭露社会问题、服务正面形象的功能性人物。反面人物形象的脸谱化与单一化是此类型反面人物的主要问题。到了80年代中期，人们对充当简单矛盾源的反面人物角色有了深刻的反思，电影人意识到二元对立思维的局限性，即便是要表现社会中的等级制和阶级斗争思想，也要跳出政治立场的苑囿，重新用客观的角度塑造反面人物形象，使他们在同样充当故事情节矛盾源的同时也变得复杂、立体、合理。这时的反面人物形象增加了隐喻功能，表现社会人复杂而隐秘的个性和情感，从政治发声走向伦理人性。电影人通过反思和深入挖掘，逐渐将单一的政治判断转化为多元的道德判断，再到复杂的人性判断，这种改变表现了大众对反面角色的宽容、理解和隐忍。“新反派”的出现，更是通过不同层次的人物性格弱点隐喻更广阔的社会人生，以及探究人的存在价值。如果人们在现实生活中缺失了顿悟、自省和批判，那么灵魂将无所依托，生活将失去意义。从第六代导演起，电影作品不再钟情于象征空间意义上的“宏大叙事”，而是关注现实生活中底层人物或边缘人物的执着与失落，以及在失控的生活节奏下所表现出的狂躁与孤独，重点表现复杂的人性。通过揭示灰色人物混乱的人格人事，深入挖掘当下社会非正义一方丧失道德准则的多方面原因。这些表现灰色人物的华语电影为人物性格的发展变化留足了展示的空间，能够对当今社会纷繁复杂的价值观做深层次的阐释，在表现非正义人生的时候渗入温情与良知，使以往的反面形象形象显得更加真实且富有感染力。当前华语电影中反面人物形象依然存在着不少问题。电影创作者对反面人物理解程度的深浅，决定了反面人物的意义和价值，虽然研究界早在上世纪八十年代就已经意识到人物形象单一的问题，也有很多研究成果问世，但是研究与实践仍然分离。当前的电影业有大量的同类型同题材作品扎堆，使人物形象缺乏吸引力和创新性。如果华语电影无法突破反面人物形象的单一性，就无法挖掘电影中现代人的欲望与禁忌。因此，华语电影创作者塑造反面人物形象需要深入生活，零距离感受生活，摆脱先入为主和想当然的处理方式，才有可能使反面人物不依赖于刻意的情节架构和惯性理解模式，而形成一个丰富的、具有真实感和说服力的生命进程。更多还原

【Abstract】 Figure building has always been the core issue of the Chinese movies’ creation;meanwhile, it also has been a comprehensive issue between literacy and the theory ofcreating the movie scenario. However, in reality, human are being complicated,movies are exactly right expressing the human and humanities, therefore, Artisticcharacters are determined by the figures that the movie creators to some extent.Especially the antagonists, because of their unique inner character and complexpersonalities, made the plots of the story become a dynamic balance of the drama. Thecross interaction made the drama a better dramatic tension within the confrontation ofantagonists and protagonists. Antagonists, in compare with the protagonists, theyobeyed the standers of goodness as well as the ethical principals and the legal norms.Further, antagonist is a concept of flexible and comparable; each movie has its uniquelanguage environment. Therefore antagonist’s existence could be argued as based onthe judgment of its unique language environment. In the same way, thecharacterization of inner-side of antagonist could reflect some conflicts and issues ofthe society and additionally explore the complicity of the real life, so as to recall therethinking of the audience. This was the meaning of why antagonist exists.Judging the “good” or “bad” of an antagonist was originally under the ethicalstandards of subject impression. The judgment of antagonist and protagonist wasaffected by the patriotism and nationalism as well as the value of Chinese moviesconveyed. The audience has its own understanding of the figures. It is apre-agreement with the social ethic more than the creation of the figures. The deepermeaning of the figure caused the development of how “good” or “bad” conducted,and makes the figure more excellent. Without these stages, figures in the movieswould be dull and become just a symbol. Literature is about human, while movies arerepresenting humanity. To avoid the simplicity of these creations, study and researchthe development if antagonist in Chinese-language movies is vital.Chinese-language movies explore the unique characters accumulation of theculture with a long and difficult procedure, whatever in the history of literature or in the history of Chinese movies. Before the new China was born, figures in the Chinesemovies are quite simple. The relationship between figures was conflict thatirreconcilable, or the conception was shown from confliction to reconciliation. Toconvey the theme of oppress or against in the movies. Figures with their specialcharacters often shown very clear about good or bad, and make them becomestereotypes. Further in the expression of times, the environment made the figuresmore stylization and surfaced. A long period after China was found in1949, socialreality has restricted to the class and class struggle. There the social reality has beenone-side and went far way from the truth. Artistic activities were principals by theclass and class struggles. In this history, all the figures become symbols with classstruggles stamps. Human needed to obey the class and the individuality needs to fix inthe class and class struggles. These have made a huge impact on the cinematographic.All the figures have become symbols of class, political during the period of1949-1979. Antagonist has a better description until the new times came, avoiding theonly focus on the evil of reactionary class.New generation film makers take a negative attitude towards the expression ofantagonist style in the past. They prefer a more reasonable way to concentrate thecomplex emotion of human. They jumped off from the traditional Chinese movies ofgood or bad, using modernist way to focus on the people from the bottom of thesociety and recording procedure of Chinese society turned to be more modernizationand clearly express the way how Chinese live in such a period. Ethical principals haschanged because of the confrontation of modern and traditional conscious andmulti-thoughts existence in the society that in the period of transformation. Beinggood and being bad is equal in the same place. Being bad are even important. Theyuse a brand new view to show the figures that were being punished in the past andseeking the self-reforming and self-identification with the audience. In this procedure,a new figure came out to the public, the grey figure, which means it does not show inthe system of traditional artistic evaluation. It mainly stands between the antagonistand protagonist.The more mature the creation of the movies, the more complex types ofantagonist came out. Therefore, in the new times, Chinese-language movies expressthe antagonist with multiple characters. At the beginning, antagonist turns out tobecome the enzyme in the movies, making the plots more exciting and exploring thesocial issues. The main problem in this stage, antagonist is too simple and profiling. In the middle of1980, those creators rethinking the antagonist; they realized that inorder to highlight the plots and make it better. The expression of antagonist could bemore complex and reasonable with a new objective view. They used metaphor expressinto antagonist to show the relationship between human. Film makers changed simplypolitical judgment to multiple ethical judgments. This kind of change makes theaudience more tolerance to antagonists. This new type of antagonist is worth forshowing the weakness of human. If there is no re-thinking judgment in people’s life,life will be meaningless. The sixth generation directors prefer focusing on the life oflower class people who have an out of control life than the huge narrating. In order toconvey the complexity of humanity, through the exploring of grey figures’ characterand lives, the reason of disappearance of the ethical standards was found. These greyfigures in Chinese-language movies made a great contribution to the development offigure’s personality. It could well explore the complex value system of the society,using gentleness and kindness to show the unfair life to make the movie’s antagonistsmore touchable.However, there are many problems in expression of antagonists inChinese-language movies. The degree the film makers’ understanding of theantagonists determines the meaning and value of the antagonists. Many researcheshave studied the simplicity of this filed in the late1980s. There was still a separationbetween practice and research. More similar movies show up make the figures lack ofcreativity. Chinese-language movies could express the desire and forbidden of humanperfectly unless the simplicity of antagonist was broke up. Therefore, film makes needto study the life carefully, get rid of the pre-existence of the understanding of thesociety to build the image of antagonists so as to make the antagonist with a more realconvincible character.更多还原