【作者】 何赟；

【导师】 高卫华；

【作者基本信息】 中南民族大学 ， 文艺学， 2009， 硕士

【摘要】 父亲是家庭中重要的伦理角色,从伦理秩序到社会经济、政治生活等都拥有支配地位和权威,有着坚实的现实及历史的文化根基。中国电影中父亲形象得到了前所未有多方位的展示。本文就对20世纪80年代以后华语电影中的父亲形象做出细致的分析和解读,研究中国父亲形象的独特内涵。本文主要分为四大部分:第一部分为引言,主要对本论题的起源及研究现状、研究目标及创新点作总体概述;第二部分回顾了20世纪80年代后华语电影中父亲形象的转变。在中国儒家文化的浸润下“父亲”成为中国传统文化的代言人,在中国传统家庭伦理中处于至高无上的地位。然而当这种传统父权逐渐向封建父权转变后,第五代电影人向“神坛”上的父亲发起了猛烈攻击,以寓言的方式寻找心目中的“理想之父”。在父亲由“神性”向“人性”回归后,第六代导演也坚持对传统父权进行现代化的批判,但用宽容和谅解的态度来对待父辈,传统父权回归。港台伦理电影也用自己的特色诠释现代父亲的内涵并做出思考;第三部分讨论了电影中父子间的冲突和融合。“父亲”是相对于子辈而存在的,父子冲突反映了父子之间价值观和代际矛盾,也反映出子辈对传统的“父为子纲”的颠覆。而子辈叛逆、父子相互冲突之后彼此间又会相互妥协。子辈终究会回归家庭与父亲融合,体现了现代向传统的回归。弑父和父亲缺席过后,导演们又重新追寻着父亲。第四部分从社会文化心理的角度来解析20世纪80年代后华语电影父亲形象的种种转变。传统、现代、后现代不同文化不断交锋整合中,处在伦理裂变与传统聚合环境下的父亲形象更加饱满和富有深意。中国父亲形象背后是中国现代社会的复杂心态和深厚的人文底蕴,体现出从传统到现代中国国民突出的性格变迁。父亲形象蕴含着中国民族文化之中具有现实生命力的文化精神,而对父亲形象的探讨和解析对于塑造中国国民新型人格、重建民族精神都大有裨益。更多还原

【Abstract】 Father is an important family role on ethics. The image has a solid reality and historical and cultural roots from an ethical order to account socio-economic, political life and so has a dominant position and authority. In Chinese films,father has been display unprecedentedly and multi-directionally. This article made interpretation of detailed analysis on the image of the father in the 80’s after the 20th century, and study the unique image of the Chinese meaning of father.In this paper, there are mainly four major parts: The first part is the introduction, which made a general overview of the source of topics, research Status, research objectives and the creativity points ; the second part recalls the conversion of the Chinese father image in the Chinese-language films since the 20 century 80’s. Under the infiltration of Chinese Confucian culture,“father”has become the spokesman for the Chinese traditional culture, and has a position of supremacy in traditional Chinese family. However, when the traditional patriarchal change into feudal patriarchal gradually ,the fifth generation of filmmakers launched a fierce attack to the father on“altar”, and find“ideal father”by the way of fables in their own eyes. After father’s“divine”return to“Human Nature”,the sixth generation of directors insist on criticizing traditional Patriarchal by modern view , but the attitude of tolerance and understanding in dealing with parents, return to the traditional patriarchal. Hong Kong and Taiwan’s film also have their own characteristics to interpret the status of a modern father, and develops their own thinking; The third part discusses the conflict and integration between father and son in the film.“Father”and son exist in the relative generations, the conflict between father and son not only reflects the values and inter-generational conflicts, but also reflects the Sub-generation which subverts the traditional concept of“son of the father for the key link”. After Sub-generation of treason and the conflict between father and son ,there will be mutual compromise between each other , eventually return to his family and integration,reflecting the return of the modern to traditional. After father is killed and become absenct,the directors search for a father once again. Part IV analysis these changes for the image of father in Chinese-language films since the 20 century 80’s from socio-cultural psychology. The different traditional culturals, modern and post-modern continued confrontation and integration, the image of father will be more plump and be full of meaning in the environment for ethical fissile and polymerization with the traditional. Behind the image of China’s father , there are complexity of China’s modern society and deep humanities inside, reflecting Chinese national character of the changes highlighted from the traditional to the modern. The image of the father Contains Chinese culture with the reality of the cultural vitality of the spirit,the discussion and analysis for image of his father are benefitial to the shaping of new Chinese character and the reconstruction of the national spirit.更多还原