冯小刚贺岁电影散论

【作者】 魏波；

【导师】 余纪；

【作者基本信息】 西南师范大学 ， 中国现当代文学， 2001， 硕士

【摘要】 冯小刚是当代中国最执着的市民意识电影导演之一，他致力于商业性娱乐电影的探索，对中国萧瑟的电影市场，具有难能可贵的现实意义。 本文从冯小刚三部贺岁影片入手，客观分析、评价其故事叙事、人物塑造和喜剧表现手法的运用，力图清醒认识他对当代中国民族电影发展方向所作的积极探索。除“序言”简述冯小刚贺岁电影现象及其创作经历、“尾声”关于对入世后的思考和总体评述冯小刚贺岁电影创作实践外，全文分为三个部分： 第一部分从主题选择在宏大与深度之外，游戏原则的叙事机制，大团圆与回归主流的收局等三个方面，来探讨冯小刚贺岁电影的故事。 第二部分从葛优饰演的男性主人公都市流浪者身份和标记、价值取向及女性作为男主人公欲望的客体、残缺家庭和病人设置等几方面，来认识和把握冯小刚贺岁电影人物形象塑造模式。 第三部分通过对调用常规喜剧手法（如小品、相声、快板）及戏拟经典类型片、人物反置、人物语言特征等喜剧手法的分析，进一步领略冯小刚贺岁电影的整体喜剧风格。更多还原

【Abstract】 Major:Modern Chinese LiteratureDirection:Movie LiteratureSupervisor:Prof YujiAuthor:Wei Bo (98079)One of the most persistent of directors of films on ideology of people, Feng Xiaogang has been devoted to the exploration of commercial and entertaining films, which assumes an especially great significance in the reality of a slack and depressing movie market.Starting with Feng’s three New Year celebrating films, this dissertation makes an objective analysis and evaluation of his application of methods of narration, characterization and comic representation, in an effort to reveal his positive contribution to the orientation of development of Chinese film industry through his initiative probing. The introduction gives a brief account of Feng’s New Year celebrating film phenomenon and his career in film production. The conclusion concludes this dissertation with the author’s reflection upon China’s WTO entry and comprehensive comment on Feng’s New Year celebrating films. The body consists of the following three parts:The first part mainly explores and discusses Feng’s films from the narrative mechanism of game principle, the ultimate reunion, the ending with returning as the main form, in addition to the choice of subjects with width and depth.The second part is devoted to an analysis of the mark, identity and value orientation of the heroes as urban vagabonds acted by Ge You, the object of desires of females acted as heroes, and the arrangement of patient members in disintegrated families, which contributes to understanding and grasping the mode of characterization in Feng’s New Year celebrating films.The third part goes further to look into Feng’s style of comedy as a whole in his New Year celebrating films by analyzing the common comic devices employed in his films (such as sketches, cross talks, and kuai baar), the imitation of classical films, the reverse characterization, and the speech features of characters.更多还原