论黄建新的城市电影

【作者】 王玫；

【导师】 刘宏球；

【作者基本信息】 浙江师范大学 ， 文艺学， 2004， 硕士

【摘要】 黄建新是第五代导演中的一个个例，他独特的导演风格和城市影像世界，不仅奠定了他在第五代导演中的重要位置，而且对中国城市电影的当下发展有着深刻的意义。本文通过五个章节的论述，对黄建新的导演风格和他的城市影像世界进行整体性地把握和系统性地研究，试图改变传统的电影研究中的偏颇面，比较全面地了解中国城市电影的定位和发展流变，突破从前研究成果的零散化和局限性，将黄建新的个例研究和对他的城市电影当下意义的关注进一步深入化，为当前的电影工作者进行相关研究和创作提供一定的借鉴和启迪。 第一章，黄建新和第五代。本章主要分析黄建新与第五代导演群体若即若离的关系，分为两个层面：(一)、血缘相通(二)、自成一体。黄建新属于第五代，他与第五代内在精神统一，但是黄建新不依附于第五代，在独特的影像世界中有着自己的追求。 第二章，黄建新与城市电影。本章通过介绍城市与电影的关系以及中国城市电影的发展流变，对黄建新城市影像给予了定位和宏观地把握，共分为三个层面：(一)、城市观念与城市电影(二)、黄建新城市电影的定位(三)、独特的城市影像。城市是电影的母体，中国的城市电影有自身的特征，黄建新在独特的影像世界中书写着自己对城市的理解和感受，从而在整个城市电影发展中有着自己的位置。 第三章，现代主义呈像。本章重点针对黄建新前期作品所呈现的现代主义表现风格进行分析和探讨，共分为三个层面：(一)、表现与 浙江师范大学硕}学位论文 象征(二)、黑色幽默(三)、超现实主义梦幻。黄建新在前期的作品 中，注重色彩的隐喻性、空间造型的营造和影片风格化的处理;通过 黑色幽默的手法来表现故事，烟造典烈人物形象及性格:在努力建构超现实的梦幻氛围来展现现代人精神梦魔的同时，超越了道德伦理层面而进入无意识和潜意识的领域。 第四章，后现代主义转型。木章币点针对黄建新转型后的作品所呈现的后现代主义表现风格进行分析和探讨，共分为三个层面:(一)、解构与碎片(二)、消解性和偶然性(三)、成人游戏。黄建新在转型后的作品中，试图用解构的方式制造一种状态;打破历史的决定性和逻辑的必然净性，消解了影片深度，在揭示才}.’.命的偶然性和人生的悲剧中展现生命的意义;运用社会内容严肃化和审美机制游戏化的手段，来实现社会问题的开掘和人物心理的深化。 第五章，本章是整篇论文的结语。从当前中国电影的生存境遇之中，对黄建新的城市电影的当下意义进行探讨。黄建新等导演在他们创作的“第三种f匕影”以一‘坚守的那份真诚，为件，国电影提供了另一条生存和发展的道路。更多还原

【Abstract】 Huang jianxin is an example of directors in the fifth generation .His unique style and city image world not only set up an important position among directors of fifth generation for him, but also got a deep meaning to the development of Chinese city movie. The paper illustrated from parts, and related his style and city movie world systematically.By doing this, the author tried to change the bias in the traditional movie research, mastered the orientation and developing trend of Chinese city movie as whole. The paper also broke a new way for fragmentary research in the previous, paid close attention to the research about Huang and the significance of his city movie, which can provide some information for movie workers to carry on research and creation.Chapter 1,Huang jianxin and the fifth generation. This main analysed the linkewarm between Huang and his community. It can be divided from two parts: mutual consanguinity have a style of his own .Huang belongs to the fifth generation, his intrinsic spirit is consistent with his community. But he dose not depend on the community, he his own pursuit in the image world.Chapter 2, Huang jianxin and city movie. This oriented Huang’ s city image and mastered as a whole by introducing the relationship between city and movie as well as the developing trend of Chinese city movie. It contains three parts: idea of city and city movie orientation of Huang’ s city movie unique city image .The movie comes from city , while Chinese city movie has its own features .Huang expressed his feelings about city in his image world , so he held a special position in the development of city movie .Chapter 3, modernism image .The chapter mainly analysed and discussed the modernism style appeared in Huang’ s movie of earlier stage .It divides into three parts: express and symbolize black humour() surrealism fantasy . There were some features in his earlier movie . He laid stress on symbolism of colours .building space model and stylizing movie,He narrated stories and created typical characters as well as their nature by employing black humour. He tried to construct the atmosphere of surrealism fantasy to express the nightmare of modern people , at the same time , he surpassed the level of morals and ethics but got into the field of unconsciousness and subconsciousness .Chapter 4 , the chapter analyzed and discussed the postmodernism styleappeared in Huang’ s movies after he transformed . It includes three parts: disintegration and fragments dissolution and contingencyadults’ game . Ln his movies after transformation , he tried to createa kind of state by employing a means of disintegration . That is to say, hebroke determination of history and necessity of logic reducing the depthof movies , and revealed the meaning of life by exposing contingency oflife and tragedy in one’ s life .He discovered some social problems andpenetrated into character’ s inner world by making social content turnto be serious and making aesthetic judgment turn to be a game .Chapter 5 , the chapter is a conclusion of the whole paper . The author discussed the significance of Huang’ s city movie from the current existing situation of Chinese movies . Directors 1 ike Huang jianxin stuck to sincerity when they made movies of the third type .which suggested another way for Chinese movie to live on arid to develop .更多还原