美国动画电影中英雄形象的建构

【作者】 张玲玲；

【导师】 聂欣如；

【作者基本信息】 华东师范大学 ， 文学与传媒， 2014， 博士

【摘要】 作为一个动画生产大国,美国动画占据着极大的市场份额。这些动画不仅是娱乐观众的一种文化形式,更是社会历史和意识形态的积淀物。作为一个崇尚英雄的国度,英雄形象成为美国动画中一以贯之的主题。通过对美国动画中英雄形象及其流变进行探讨,我们会发现英雄是一个具有丰富文化内涵的概念,作为人类理想的化身,它既具有人类文化的共性,又因为是某个特定历史阶段特定文化群体的产物,因此会带有明显的特殊文化特征。尽管美国并不像其它西方国家一样有着许多历史悠久的英雄原型,比如荷马史诗或亚瑟传奇中的英雄文化,但是它在古典和史诗英雄的基础上用自己的民主方式形成了特有的英雄主义意识。具体到美国动画中,英雄形象则被赋予了特殊的含义和文化形象。因此,本文试图立足于美国的社会、政治、经济、文化的发展变化,剖析美国动画中英雄形象变迁和发展的历史轨迹。本文以时间顺序结构全文。第一章讲述二战之后至1980年美国动画中的英雄形象。这一阶段的动画英雄以古典英雄为主,这与二战后占据社会主导地位的中产阶级价值观有着密切的关系。随着青年反叛运动的兴起,古典英雄开始没落,凡人英雄萌芽。与此同时,美国动画中开始出现与政治相关的英雄形象。第二章论述的重点是凡人英雄的特征及多元文化影响下多样化的英雄形象。在追求平等的社会思潮影响下,具有凡人秉性的英雄开始成为银幕的主要表现对象,女性英雄、卑贱英雄、另类英雄作为一种新的银幕形象开始出现。第三章研究后现代消费文化对动画英雄塑造的影响,个人至上的英雄、反面英雄和景观英雄是这个时期具有代表性的英雄形象。凡人英雄作为一种英雄类型依然延续到了消费社会,但呈现出不同的特征,面对后现代文化他们呈现更强的对抗性和更多的自我反思。第四章讲述在反恐的意识形态下,动画英雄对于守法与公正、复仇与暴力、权利与欲望的反思。在对反恐作出反思的同时,美国依旧对“他者”的文化表现出一种偏见和敌意,同时也在试图为战争寻找“正义”的理由。更多还原

【Abstract】 As a major power animation production, the United States occupies a great animation market shares. The animation is not only a cultural form of entertaining the audience, it is the accumulation of social history and ideology matter. American is a country which advocate of the hero, heroic image is a consistent theme in American animated films.Through the hero in the American animation image and its rheological are discussed, we will find hero is a concept with a rich cultural connotation. As the embodiment of human ideals, hero has both the commonness of human cultural, and also is a specific historical stage product of particular cultural groups, so it will have obvious special cultural characteristics. Although the United States is not like other western countries which has a long history with many heroes prototype, such as the legendary hero of Homer or Arthur culture, it is on the basis of classical and epic hero in their own democratically formed a unique sense of heroism. Specific to the United States in the animation, the hero image is endowed with special meaning and cultural image. Therefore, this paper tries to base on the social, political, economic and cultural development and changes to analyze the historical trajectory of change and development of hero image in the animation.The full text of this article structure in chronological order. The first chapter represent the American animated hero image after World War II to1980. This stage of the animation is given priority to with classical heroes, which had close relation with the bourgeois values that dominated society after world war ii. With the rise of the young rebel movement, the classical hero began to decline and the mortal hero bud.At the same time, hero image in the associated with political began to appear in the American animation. The second chapter focuses on the moral hero characteristics and the multicultural heroic image under the influence of culture diversity. In the pursuit of equal society ideological trend influence, the hero with mortal mettle become the main performance of the screen object. Female hero, humble hero, alternative hero began to emerge as a new screen image. The third chapter studies the influence of postmodern consumption culture on the building of a hero in animation. Personal supreme hero, villain hero and landscape hero is the typical heroic image in this period. Mortal hero as a type of hero still continued into the consumer society, but it presents different characteristics. They present more confrontational and more self-reflection facing the postmodern culture.In the fourth chapter describes animation heroes’reflection of law and justice, revenge and violence,rights and desires under the anti-terrorism ideology. While make reflection on terrorism, the United States still showed a kind of prejudice and hostility to the culture of "the other",and at the same time it is trying to look for the"justice" reason of war.更多还原