【作者】 贾磊磊；

【导师】 廖奔；

【作者基本信息】 南京师范大学 ， 影视文学， 2007， 博士

【摘要】 中国武侠电影是一种以武侠文学为原型，融舞蹈化的武术技击表演与戏剧化、模式化的叙事情节为一体的类型影片。中国武术自其诞生之日起，就带着舞蹈艺术的神韵，中国武侠电影，在汲取武术的外在形态和神韵的过程中，形成了武打动作的舞蹈化风格，生龙活虎的武术技击在银幕上便演变为一种优美动人武术之舞。由于武术打斗在电影中是高度艺术化和表演化的动作奇观，所以，我们把它称之为银幕上的“武舞”，即武术之舞。由于中国武侠电影的武打技巧是一种高度程式化的动作表演，追求的不是单纯的打斗、单纯的视觉奇观，而是武打与剧情、与情景、与人物性格的相互交融。所以，中国武术进入电影之后，已演变为一种以艺术表演为主、击打对方为辅的武术之舞。观众在欣赏一场技艺精湛的动作搏击时，实际上看到的是一场在“影像舞台”上展开的武舞表演。本文在电影史视野内把武侠电影传统意义上的“作家作品史”与电影历史发展的客观现实相互联系，提出了中国武侠电影以神怪传奇、人物传记、古装刀剑、功夫技击、谐趣喜剧、魔幻神话为主的六种主要类型。中国武侠电影在它极具表演性的武术对打和曲折逶婉故事情节中，隐含一种根深蒂固的、中国式的文化伦理，它是支撑整个武侠王国的精神构架。包括武侠电影中的人物所皈依的不同武术门派，所采用的各种剑术、拳法，其实都带有特定的伦理色彩，都会与武侠道义和社会道德相联系。中国武侠电影在人物性格的创作上，严格依循着善恶分明、忠奸立判的美学原则，并通过善与恶的尖锐对立，美与丑的鲜明映照来建立影片的叙事体系／价值体系。由此，中国的武侠电影划分为两个最基本的人物谱系：即以英雄义士为主体的善的形象和以奸臣贼子为主体的恶的形象。同时武侠电影在历史发展过程中形成了“报主”与“尽孝”的叙事母题、“家族为本”的武林道义、“义非侠不立”的精神取向和“善恶有报”的世俗伦理等。本文还对武侠电影的“主题道具”进行了表述功能与意义的分析。中国武侠电影是一种注重武德的电影作品，特别是对暴力的表现方面提供了一系列成功的经验：其中包括暴力的喜剧化、暴力的舞蹈化、诗意化等消解暴力的有效方式。从这种意义上讲，中国武侠动作片的“国际化”正在改变世界电影中暴力影像的存在方式。事实证明：武侠电影所蕴藏的商业潜力，已经成为电影未来发展的一个新的增长点。中国的武侠电影因其无可比拟的武艺和神韵，近年来越来越受到世界电影界的青睐，从而使中国武侠动作电影的国际化进程也得到了前所未有的拓展。为此本文专门分析了中国武侠电影近半个世纪的国际化进程，勾勒出几代武侠电影作者迈出本土、走向世界的艰辛经历。更多还原

【Abstract】 Based on the Chinese martial arts literature, the Chinese martial arts film is a genre which mixed a lot of elements together, such as the performance of martial arts, the dramatic and patternized narrative plot. At the same time, Chinese martial arts film has also absorbed the spirit of the dance since its birth. During the course of absorbing Chinese martial arts’ modality and spirit, the Chinese martial arts film not only turned into a new action film genre which had the characters of dance, but also created a beautiful dance by absorbing the techniques of martial arts. We call it "dance of martial arts" because the martial arts on the screen are highly artistic and performable action spectacle .The martial arts in Chinese martial arts film are highly patternized action performances. What they pursued is the connection of the action, plot, scene, and the characters of roles, not just the action and the visual spectacles. Therefore, when the martial arts entered into the film, they had become the "dance of martial arts", and focused on the performance, not beating down other people. In fact, the audience would like to enjoy a beautiful dance on the screen rather than watching the tussle, although there are wonderful martial techniques in it.Historically combined "the history based on text and author" with the actual history, this thesis brought forward the six main genres which narrated mainly about the Legend of gods and spirits, the Biography, the Archaic sabers and swords, the Martial Tussle, the Waggery martial arts film and the magic and fantasy film. Chinese martial arts film always implied the rooted Chinese cultural ethic which supported the whole spirit frame of a martial arts kingdom in its performing tussles and twisting story narration. In the martial arts films, both the schools which the characters belonged in and the variety of swordsmanship and fistic arts had some kind of ethic color and connected with the higher morality of martial arts and society. In the creation of the characters in Chinese martial arts film, the author strictly stuck to the aesthetics tenet of ditheism and set up the narrative/value system with the antitheses of the good and evil, the beautiful and ugly. Thereupon, Chinese martial arts film could be divided into two basic pedigree of characters: the good images which took the heroes as the principal part and the evil images which took the treacherous court officials as the principal part. This thesis also pointed out that the martial arts film provided with the motifs of "repaying the obligation of the host" and "taking the filial piety as duty", the martial arts morality based on the family, the spiritual tropism of errantry and the mundane ethic of nemesis, and besides, the thesis analyzed the narrative function and significance of the main property in the martial arts films.Chinese martial arts film paid more attention to the moral of martial techniques. It provided an effective way for the representation of violence, such as the ethicized, comical, orchestic and poeticized transformation of violence. In a sense, the internationalization of Chinese martial arts film has been changing the ways of image’s existence. It is proved with the facts that the commercial opportunities which consist in the Chinese martial arts film will form a new growth point for the future of martial arts film.In these years, Chinese martial arts film are winning the increasing favor of the world filmdom with its unexampled martial arts and spirits, thus speeding up the progress of its internationalization unprecedentedly. From this point of view, the internationalization of Chinese martial arts film has been changing the ways of image’s existence. Therefore, this thesis outlined the extraordinary course that how several generations’ martial arts film creators strode out the native country and walked up to the whole world.更多还原