【作者】 陈辉；

【导师】 曹惠民；

【作者基本信息】 苏州大学 ， 中国现当代文学， 2009， 博士

【摘要】 本文立足全球化背景,以当代著名华语导演张艺谋、徐克、李安为例,从现代性与文化认同的视角来审视和梳理两岸三地华语电影的总体特征和个性风格。笔者首次提出华语电影现代性的四种主要类型,即“启蒙现代性”、“娱乐现代性”、“日常现代性”和“传奇现代性”,并分别结合三位导演的主要作品进行具体而深入的文本分析。论文由导论、正文和结语三个部分组成。其中正文共分为五章。导论部分首先厘清和界定“全球化”、“现代性”、“文化认同”以及“华语电影”这四个重要概念,并揭示其相互之间的逻辑联系。电影和华语电影不仅是全球化和现代性的产物,同时也是文化全球化和现代性的重要“推手”。在全球化时代,两岸三地的华语导演们面临着一个共同的问题:如何在其作品中表现西方现代性与中国传统文化认同之间的矛盾和困惑?正文第一章首先概括分析了张艺谋、徐克及李安所分别代表华语电影“启蒙现代性”、“娱乐现代性”和“日常现代性”的总体特征,并指出他们的新历史武侠影片共同具有“传奇现代性”的艺术特色。第二章以张艺谋电影为例,具体分析其“红色三部曲”以及《满城尽带黄金甲》所体现的对中国传统文化进行深刻反思和批判的启蒙现代性立场,认为西方观众和研究者将张艺谋影片中的“启蒙现代性”,解读为“刻意迎合西方想象的东方景观”,完全是误读的结果。第三章从华语电影娱乐现代性的视角探讨徐克的主要代表影片,认为由于香港商业消费社会的文化需要,徐克的作品在追求现代性思想观念和艺术表现手法的同时,注重适应香港大众文化认同的娱乐性要求。第四章以李安的“家庭三部曲”及《色戒》为例,具体分析其所隐藏的西方现代性与东方文化认同之间的矛盾冲突,并指出其影片体现了华语电影日常现代性的总体特色和个性风格。第五章则从传奇现代性的视角,具体分析《黄飞鸿》、《卧虎藏龙》和《英雄》等新历史武侠影片中分别体现出的现代性内容与文化认同之意义。这一章属于在同一电影题材下三位导演不同艺术风格和文化认同维度上的比较研究。结语总结全文。从电影创作和成名时期来说,徐克最早、张艺谋次之、李安最迟。张艺谋精于摄影画面和色彩运用,但叙事技巧不足;李安长于电影叙事和思想挖掘,却有形成固定模式之嫌;徐克技术全面,注重特技和创新,但有力不从心之感。张艺谋影片适应着时代的要求,以启蒙现代性的立场批判中国传统文化;李安立足西方日常现代性的社会生活,流露出对于东方传统文化的眷恋和怀旧之情;徐克则对于中国传统文化和西方现代性兼收并蓄、中西文化混合,其影片体现了华语电影娱乐现代性的特色。更多还原

【Abstract】 This article bases on the globalized background, takes contemporary renowned Chinese Director Zhang Yimou, Xu Ke, Ang Lee as the example, carefully examines and combs the Chinese movie’s overall characteristic and individuality style ,from the modernity and the cultural approval’s angle of view。The author proposed for the first time four kinds of main Chinese movie modernity type, namely“the Enlightment modernity”,“the entertainment modernity”,“the daily modernity”and“the legendary modernity”, and unifies three director’s principal productions to carry on concrete and thorough text analysis separately.The paper is composed of three parts,the introductory remarks, the main text and the conclusion. And the main text divides into five chapters in all.The introductory remarks part defines clearly and limits four important concepts ,“the globalization”,“the modernity”,“the cultural approval”as well as“Chinese movie”, and promulgates their logic relations. The author proposed: The movie and Chinese movie are not only the product of“the globalization”and“the modernity”, simultaneously is also the important“the hand slap”of cultural globalization and modernity. In the globalized time, Chinese directors are facing a common problem: How to display the contradictory and confusion between the Western modernity and the China traditional culture approval in films.The first chapter summarizes and analies the overall characteristic that Zhang Yimou, Xu Ke and Ang Lee are separately on behalf of the Englightment modernity,the entertainment modernity and the daily modernity in Chinese movie.The author pointed out that they have new historical knight-errant movies of“the legendary modernity”together.The second chapter takes the Zhang Yimou movie as the example, study the Englightment modernity of“the red trilogy”as well as“The City of Golden Armor”.The authou thought that the Western audience and the researcher misrepresent the Englightment modernity of the Zhang Yimou movie as the explanation of the West imagines.The third chapter discusses the main movie of Xu Ke from the angle of entertainment modernity view ,thought that because of the expenditure cultural in Hong Kong commercial society, Xu Ke pays great attention to adapt Hong Kong mass culture entertaining reality request, during the pursue modernity ideological concept and expression means of art.The fourth chapter takes Ang Lee’s“the family trilogy”and " Lust, Caution " as the example, studies the contradiction and conflict between the modernity and the cultural approval, and pointed out his movie has manifested Chinese movie artistic feature and individual style of“the daily modernity”The fifth rules from the legendary modernity angle of view, study he new historical knight-errant movie ,"Huang Feihong", "Crouching tiger, hidden dragon" and "Hero" ,and manifests the significance of the modernity content and the cultural approval separately. This chapter belongs to the research between the different artistic style and the cultural approval dimension of three directors in identical movie themeThe conclusion summarizes the full text.The author thought: Xu Ke is early, Zhang Yimou is next, Ang Lee is latest of becoming famous in the movie,. Zhang Yimou is skilled in the photographic picture and the color utilization, but lacks the ability of narration; Ang Lee excels in the movie to narrate with the thought excavation, and also becomes visible suspicion of the fixed pattern; Xu Ke’s technology is comprehensive,and he pays great attention the stunt and the innovation, but seemed to be that lacks the ability to do what one would like the feeling. Zhang Yimou’s movie is adapting the time request, critique traditional culture by the standpoint of the Enlightenment modernity; Ang Lee bases the social life of the West daily modernity, reveals his attachment and the nostalgia of the traditional culture; Xu Ke swallows everything uncritically between the China traditional culture and the modernity , and his movie manifests“China and the West culture mix”and“the entertainment modernity”characteristic of Chinese movie.更多还原