【作者】 陈娟；

【导师】 林少雄；

【作者基本信息】 上海大学 ， 电影学， 2010， 博士

【副题名】吸血鬼影片的文化学研究

【摘要】 吸血鬼是一个联系着古老传说和现代银幕观看的形象,从传说走上银幕,以德古拉的形象最为典型。自1896年第一部吸血鬼影片问世以来,吸血鬼影片的生产几乎从未间断过,与世界电影史等长。发展至今,以300部影片的客观数量、数十位鲜活的银幕形象,跨越了几乎所有的影片类型,具有一个多世纪的发展史,是世界电影史上非常特殊的现象。吸血鬼影片的价值和意义是一个逐渐被发现和认识的过程,从最初的银幕恐怖形象发展至2000年,《德古拉》(1931)由美国国会图书馆收藏,被选作美国文化的标志。吸血鬼影片的相关研究在国外已延续半个多世纪,涉及类型片发展与电影审查制的推进、电影技术的革新与进步诸方面问题,从精神分析、女性主义、大众文化、神秘学等领域加以研究,形成独特的文化景观。本文以“行走在银幕上的德古拉”的银幕形象研究带动吸血鬼影片的文化学研究,以形象研究作为贯穿全文的主线,试图在吸血鬼影片发展史、电影史与大众文化发展史基础上,把握这一形象的银幕价值、文化价值和美学价值。国外吸血鬼影片研究多是专题性研究,基于影像分析的文化学研究相对较少,而国内迄今为止更为稀缺。研究以影像分析为切入角度,借鉴文化学的研究方法,对德古拉的形象演变进行了梳理分析,以文化学的广阔视野关注引起变化的深层动因,研究主要围绕三个方面展开:其一,德古拉银幕形象形成及演变过程;其二,从影像表现角度对德古拉形象的影像符号系统分析;其三,对吸血鬼影片内涵的文化学美学分析。围绕这三个方面,全文体现为八个部分。第一部分围绕吸血鬼形象如何进入影像,展现吸血鬼与吸血鬼影片研究的前景与背景;第二、三部分系统梳理了德古拉形象的形成的过程及原因;第四、五部分分析德古拉形象所面临的时代挑战及银幕进化的新趋向;第六部分更深入分析德古拉为代表的吸血鬼形象的影像符号及其隐喻系统;第七部分由“审美的中间状态”对银幕上的德古拉家族的身份符码进行整体把握,剖析这一形象具有经久不衰银幕魅力的深层原因;第八部分由观看行为分析入手,探索吸血鬼影片的文化关怀。全文以影像分析和文化学分析的双重维度,对德古拉的形象及吸血鬼影片的社会学、文化学、心理学和大众审美等问题进行了较为深入的讨论。本文的创新之处在于:(1)本选题是迄今为止文化学的全面研究。国内这方面的选题极少,在国外吸血鬼影片研究中也很少有立足影像的文化学研究选题。(2)新材料的发现。在研究的过程中,发现了新的研究资料,例如将第一部吸血鬼影片诞生的年代由原先的1909年推前至1896年。(3)提出了新观点。用“审美的中间状态”来概括银幕上的吸血鬼形象的美学特征,这种状态是其他影片、其他银幕形象所无法表现,也是吸血鬼影片被无数次推向银幕却总会有所创新的根本所在。通过考察和分析,本文认为银幕上的德古拉行走的足迹遍布影片各类型,银幕形象的塑造尝试了不同的美学风格,与大众文化产生良好的互动,是人类自身表达的一个极其重要的补充角色,行走在银幕上的德古是人类自身的影子,同时也是人类文明的批判者。德古拉的银幕进化过程恰是这一恐怖形象与人类逐步接近的过程,不同时代,凝聚在这一形象上的要素的变动一方面显示出社会、文化及时代心理状态的变化,也反映出观看行为对电影形象的复杂作用。本文分析表明促使这种状况产生的原因在于以德古拉为代表的吸血鬼特殊的身份被转化为影像符码之后,其“审美的中间状态”借助电影的光影艺术得到了充足的表现,从视觉和心理两方面迎合了人类内心不同层面的需要。本文研究旨在通过这样一个特殊的银幕形象的分析,探索大众文化与德古拉形象之间是如何作用与反作用,选取这一研究对象来推动我们对影像文化的认识,这是一次大胆的尝试,希望在某种程度上能够消除文化隔阂,客观、深入地认识吸血鬼影片对人类的意义。本选题是恐怖片银幕形象的文化学研究的一次新尝试。今日之电影研究正逐渐朝向多元化发展,由认识银幕形象而认识影像文化是本文的目的所在。文化隔阂限制了传统电影观念对恐怖片的认识,使得恐怖电影研究在中国还有漫长的路要走。更多还原

【Abstract】 The image of vampire is characterized by Dracula which walking from those old folks to the screen, showing the antiquity legend in conjunction with modern screen gaze. When the first vampire film“La Manoir du Diable”which made by George Méliès showed on screen since the Christmas of 1896, It never fade away from the screen, and vampire became an eye-catching movie figure since then, with more than 300 films and decades of characters which appear in almost all genres, created very exceptional history. The discovery and acquaintance of the vampire films’value and significance is a long and gradual process. Dracula was a horror image in 1931 while in 2000 the film was selected for preservation in the United States National Film Registry as being deemed“culturally, historically or aesthetically significant”. The relevant study of vampire films abroad has continued to half a century, which arrange from the genre development to the censorship system of films propellant, the film technology promotion and progress of all problems, and territory pairs from psychoanalysis, feminism, mass culture, mysticism and so on, form a unique culture landscape.This subject chose Dracula as an example which lead to a cultural study on the vampire films. To study the image as a whole, take charge of this movie figure on the base of the vampire film history, and attempt to find the values of film, culture and aesthetics. Vampire films studies abroad mostly associated with special subjects, and seldom associated with image analysis, and domestic is rare.This study attempt to make a point to Dracula’s image analysis concern about the cultural motivation, focus on three aspects: first, the formation and development process of Dracula’s iconography; second, semiotics study on the genre of vampire films; the third, cultural and aesthetic analysis of vampire films. It is divided into eight parts around these three aspects: the first part of this article raise the question how did vampire“the dead-walker”become“the screen-walker”based on a brief introduction of the background of vampire and vampire films studies; the second and third parts provide Dracula’s iconography formation of procedure and cause; the fourth and fifth parts interpret Dracula image’s screen evolution and the new trend of now and the near future and the new challenges it faced; the sixth part analysis the symbols and their metaphors systems of the image of vampire which characterized by Dracula; the seventh part discuss“the middle status of aesthetic”of the vampire film codes; the eighth part analysis the spectatorship of vampire films and its cultural reflection and significance. This study based on image analysis and cultural studies, and the discussions contain culture, psychology, sociology and aesthetic issue of Dracula’s iconography and vampire films.The innovation is:(1) This is a new subject in vampire film study, and this is a fresh attempt to have a cultural study on foreign horror movie figure in China; (2) New data was discovered, people used to think that the first vampire film is Vampire of the Coast (1909), but this study find it should be La Manoir du Diable (1896); (3) Provide a new viewpoint,“the middle status of aesthetic”is an artistic condensation of this movie figure.This study indicates that the formation and development process of Dracula and his screen family’s iconography is a process of gradual approach to human’s soul; they walking on screen across light and shadow in different time and never“dead”. Their special identities were converted into film code systems, which cater to the psychological needs in visual and mental aspects in different levels.Study horror film genre and it’s movie figure is fresh experiment in modern China, and hope to some extent be able to eliminate culture barrier, objectively, thoroughly understand visual culture and comprehensive vampire films to mankind.更多还原