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电影本体性下的冯小刚贺岁电影综论

The Summary Exposition of Feng Xiaogang’s New Year Movies According to the Film Ontology

【作者】 宫晓鹏

【导师】 李掖平;

【作者基本信息】 山东师范大学 , 中国现当代文学, 2007, 硕士

【摘要】 二十世纪九十年代,面对长期委靡的中国电影市场,面对仅能靠海外电影节奖项获得观众认可的少数中国艺术电影导演,更是面对进口大片势不可挡的市场侵占,冯小刚用他的影片做了事实上的抗争,他把“中国特色”融入了贺岁片这种喜剧类型中,推出的一系列影片都保持了极高的票房,迅速确立了中国“商业电影”霸主的地位,他的崛起也成为中国电影市场的一个奇迹,从此掀起了内地拍摄贺岁片的热潮,为中国商业电影和产业化道路开拓了新的发展空间。冯小刚的贺岁片以电影的商业本性为标识,在赢得巨大票房收入的同时也收到了来自精英文化的怀疑、否定和攻击,这与冯小刚所坚持的电影观念产生冲撞,由此策源的中国电影观念的冷颤、震荡与调整,以及对电影话语权的挑战与争夺,构成了九十年代至今中国影坛的一个景观。本文通过对二十世纪九十年代末冯小刚贺岁片的梳理,考察其复杂的诞生语境,对其在坚定的市场追求下导致的艺术与商业方面的得失进行客观的评价,对影片对于当今中国电影工业发展所具有的意义作出评判。本文的研究创新点在于,在中国电影的市场化主流已然大势所趋的背景下,着眼于电影的本体意义,通过意识形态、商业意义和审美意义,来分析冯小刚贺岁片为电影的商业化和市场化做出的独具价值的注解,对冯小刚及其贺岁片进行电影本体性意义的观照,从而为中国民族电影在新的语境下的发展,建设真正与时俱进的、能促进民族发展和现代化建设的电影产业,提供某种可能性的探讨。论文首先明确了中国贺岁片产生的历史必然性。中国社会文化转型为中国电影的进一步发展带来了机遇。经过改革开放十余年的时间,计划经济体制向市场经济体制转变,导致了社会文化的转型,在相对宽松的政治环境中,商业文化被社会认同,电影艺术的独立性和本体意识重新得到确认。在电影的本体要求和观众接受的集体支持所构建的隐型联盟下,电影的娱乐和商业机能渐渐凸显出来。中国的贺岁片在此时粉墨登场,由冯小刚开创了贺岁片的票房奇迹,为中国电影的繁荣带来了希望。第二部分详细论述了冯小刚贺岁片的喜剧艺术特色,从其影片本身分析其成功的原因。共分为两个问题进行探讨。其一,分析了冯小刚贺岁片喜剧艺术的张力。重点从小人物的调侃自嘲、喜剧样本中融入戏拟等后现代喜剧形态、选取材料独具匠心、多种艺术手法营造扣人心弦的故事情景以及游戏化本质等六个方面展开。其二,注意到了冯小刚贺岁片对传统喜剧的创新和改造,这种创新在于对都市题材的把握、假定情节中显出生活的真实、在本土电影中构建了东方文化情景以及后现代的喜剧因素。第三部分着重从电影本体意义对冯小刚贺岁片现象进行理性思考。一方面冯小刚的电影之所以能取得理想的票房成绩,重新确立了人们对国产电影的信心,一个重要的原因就在于他倡导的电影本体性创作理念。冯小刚真正在深层的自觉上,形成观众本位和市场本位的创作意识。冯小刚对传统电影观念的频频挑战,对电影机制改革的公开呼吁,对于中国电影的发展,是积极而富有建设性的。另一方面冯氏电影的电影本体观照主要是以构筑中国本土化电影为中心,注重民族电影的产业化和本土化,在尊重电影艺术规律和观众接受需求的基础上,将自己的主题意念、艺术才华和电影市场的要求结合在一起,从而形成立足于电影本体性的中国本土电影。第四部分通过《手机》、《天下无贼》以及《夜宴》关注到冯小刚电影转型中的突破与坚守。从以往影片娱乐化、平面化和消费性的追求到人文深度的增加,从温情机智、幽默谐趣的轻喜剧风格到偏正剧或悲剧的风格等等,但是从电影商业本体出发的创作观念仍是其电影转型的主导。《天下无贼》是冯小刚商业电影一次成功的突破,将中国电影剧作类型化提高到一个新的水平,同时为今后的中国商业化电影设立了一个极高的剧作门槛。最新力作《夜宴》作为这种转型的延续和升华,在大投入的同时也注入了更多的个人创作格调。结束语部分重在揭示,在这样一个各种文化包容并举的时代,人们将大众文化逐渐放置到一个新的高度进行研究。冯小刚是一个在商业上可以信赖的导演,冯小刚电影已经成为中国电影中一支可以与海外进口影片进行博弈与角逐的有生力量。在日趋激烈的电影市场竞争中,“冯小刚电影”依靠近几年来所创造的票房业绩,其经济地位与文化价值已经越来越被中国电影界所确认。而以贺岁片为主导的冯氏电影对观众审美情趣的把握和对商业电影的洞悉无疑为中国电影的发展做出了贡献。从全球化语境和国际“软实力”角度关注中国电影,国产影片在大众文化中应占据更重要的地位,也应承担更重要的责任。因此为了国产电影的良性发展,对冯小刚及其贺岁片的电影本体性关照是具有研究价值的。

【Abstract】 In the 1990s, faced with the long-term slack China’s film market, on the face of the minority of Chinese art film directors that was recognized by overseas film festivals, even in the face of the unstoppable invasion of the foreign films, Feng Xiaogang done a facture protest with his films. He integrated "Chinese characteristics" into this type of comedy, a series of his films has maintained a very high at the box office. Since then a large amount of New Year Movies has been producted in the Mainland and open up the path of a new development space for the Chinese commercial film industry.Feng Xiaogang’s New Year Movies regards the commercial nature of film as the Standard, those films not only harvested huge box-office, but also received doubt, denial and attack from the elite.Such conflicts caused the adjustment of the concept of the Chinese film and the capture of the movie words power. This constituted a landscape in the 90’s China film.Based on carding Feng Xiaogang’s New Year Movie sat the end of the 1990s, this article inspects its complex birth environment, carries on the objective appraisal to the success and failure in the artistic and the thought aspect, makes the critique to the significance which those movies has for the Chinese movie industrial development.In this paper, the researching innovation point is the following: in the context that the Chinese Market-oriented film has already been the general trend, the artical focuses on the ontological significance of the film, through its ideological commercial significance and aesthetic significance, analyzes the contribute of Feng Xiaogang’s New Year Movies for the film commercial and marketization, analyzes Feng Xiaogang and his New Year Movies according to the film ontological significance. thus promotes the development of Chinese national film industry in the new context.First the paper elaborates the historical inevitability of the Chinese New Year Movies. Chinese society culture reforming has brought the opportunity for the further development. After the reform and open policy has been implemented for more than ten years, the change of the planned economic system to a market economic system has led to social and cultural transformation Commercial culture has become social recognition, the independence and the ontology of film arts has been confirmed. The film entertainment and commercial functions has been gradually becoming prominent. At the time China’s New Year Movies appeared beautifully, Feng Xiaogang’s New Year Movies created a miracle at the box office, has brought hope for the prosperity of the Chinese film.The second part discusses in detail the comedy artistic characteristics in Feng Xiaogang’s New Year Movies, analyzes the reasons for its success. On the one hand, it analyzes Feng Xiaogang’s New Year Movies’comedy art from six aspects: the little guy’s fun、the parody and other post-modern comedy form、the materials selected、a variety of artistic practices and the game nature. On the other hand, makes analysis the innovation and transformation of Feng Xiaogang’s New Year film, including to grasp the theme of the city, to shows the real life on the assumption, to construct oriental culture and post-modern comedy factors.The third section focuses rational thinking on the Feng Xiaogang’s New Year Movies phenomenon from the significance of the film Ontology. Firstly an important reason for the Success is his creative ideas of ontology. Feng Xiaogang really formed the audience-based and market-based creative consciousness in the deep conscious. The frequent challenges to traditional concept and the publicly appeal for reformation of the mechanism is positive and constructive for the development of Chinese films. Secondly the ontology of film mainly pay attention to building the Chinese film’s localization and placed the national film industry and localization at the heart. Film makers need to combine own ideas、artistic talents with the requirements of the market, in order to create the local film industry in China based on the ontology.The fourth part concerns the breakthrough of Feng Xiaogang’s films by the "mobile phone", "A World without Thieves" and "The Banquet": increasing the depth of the humanities instead of entertainment in his past films ,from the warmth and wit, humor, fun style of the light comedy to drama or tragedy center style. But the film business ontology of the creative concept is still the dominant restructuring its film. "A World without Thieves," is a successful commercial film breakthrough, and "The Banquet" as a continuation of this transition and sublimation, injectes more personal creative style in large inputs.The concluding part reveals that, in such an times with combining various cultures, people will gradually placed popular culture to a new level for research. Feng Xiaogang is a trustworthy commercial director, the films has already become an effective strength that can compete with overseas films .Relying on the performance at the box office in the recent years , its economic status and cultural values have increasingly been recognized by the Chinese film industry. But China-made films should occupy a more important position in the popular culture , and it should bear more important responsibilities. Therefore, in order to promot the development of China-made films, the summary exposition of Feng Xiaogang’s New Year Movies according to the film ontology is valuable.

  • 【分类号】J905
  • 【被引频次】4
  • 【下载频次】1011
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