【作者】 赵立爱；

【导师】 姜静楠；

【作者基本信息】 山东师范大学 ， 中国现当代文学， 2003， 硕士

【摘要】 本文是对中国贺岁片进行的类型研究。通过对二十世纪九十年代末涌现的贺岁片的梳理，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思想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做出评判，为中国民族电影在新的语境下的发展，建设真正具有与时俱进品格，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。 类型化电影在当代中国影坛上是一个长久被漠视的创作现象，而商业化创作又是一个屡遭贬斥的话题，但这是当前发展民族电影工业最有效、最关键的环节，破除长久以来造成的偏见，对它们进行学理层面上的研究和支持不仅是必要的，也是迫切的。 本文的主体分为四个部分： 一、贺岁片的旗手——冯小刚。冯小刚在连续四年的贺岁片创作中，形成了一套渐趋成熟的商业叙事模式和基本稳定的喜剧风格。 (一)商业叙事的自觉。冯小刚内心明确的观众情结和市场理念，使他在对影像人物的选择、明星策略的实施、对观众深层欲望的挖掘、多种游戏的设置等方面切合观众的观影需求而深受喜爱。 (二)独特的京味幽默。幽默是冯小刚贺岁片的最大魅力，鲜明的京韵和京味则是其显著特色。他的幽默既包含对自己与他人并无敌意的调侃，又包含对革命经典话语，当下流行的市场、商场官话的戏剧性的仿照或摹拟，更多时候则是相声似的逗乐，使得观众在品味幽默的过程中领略编导的智慧。 (三)后现代喜剧尝试。影片中大量使用堆砌、拼贴、戏拟、解构等方式，使得真实与虚构、历史与现实、崇高与荒诞之间的界限模糊不清，呈现后现代的杂乱景象。 二、贺岁片的诞生语境。任何一种现象的产生都离不开特定的语境，贺岁片的成功更是如此。(一)社会、文化转型为贺岁片的出现提供了契机。(二)九十年代影坛态势为贺岁片预留了发展空间。(三)通俗文学、电视剧的启发引导贺岁片走上了市场化的道路。 三、贺岁片的基本形态。由于创作者的共同追求和他们所遵循的共同原则，贺岁片呈现鲜明的类型特征。按照题材，将其分为四类：1、嬉闹贺岁片。2、青春爱情剧。3、生活片。4、都市探索片。 四、贺岁片的美学特征。（一）贴近当下生活、演绎平民梦想。时效性与日常性是其显著特征。（二）表意明确的电影语言。在叙述视点，叙述时序，故事、情节的设置，结局的处理等方面都显示出贺岁片“形式服务于内容”的宗旨。（三）强调娱乐功能，设置游戏规则。贺岁片创造了轻松的观影环境。（四）对喜剧电影的开拓。不仅丰富了喜剧的内容题材和表现形式，而且重视了最适合喜剧的上映档期，对档期的利用启发了国产电影的上映。 结语。对贺岁片的存在价值和艺术缺陷进行客观的评价，呼吁中国类型片的迅速成长。更多还原

【Abstract】 This text is the type research to Chinese New Year Movie. Through combing to New Year Movie that emerged at the end of 1990s, Observe its complicated linguistic context of naissance, carry on objective appraisal to its gain and loss about art and thought of that cause until firm market pursue. Judge its industrial meaning to Chinese film development nowadays, discuss Chinese national film development under new linguistic context, offer the discussion of a certain possibility to build film character of growing with each passing hour, being able to promote national development and film industry of modernization construction.The type film is a creation phenomenon ignored for a long time on the contemporary Chinese filmdom. And commercial production is a topic being repeatedly demoted, but this is the most effective, most key link to develop national film industry at present. Abolish the prejudice existing for a long time, give them research and support on the cultural science aspect is not merely essential, but urgent too.The subject of this text is divided into four parts:Part one: banner-bearer of New Year Movie -Feng Xiaogang. In directing, Feng Xiaogang form one ripe commercial narrative mode and relative steady comedy style gradually in New Year Movie for four years in succession.1), commercial narrative consciousness. Audience complex and market theory that Feng Xiaogang has clearly in heart makes him respect audience’s demand, his film is deeply beloved by audience in video choice of personage, star-strategies’ implementation, excavate to audience deep desire, many kinds of establishment of game, etc.2) Unique Beijing-flavor humor. Humor is the most fascination of Feng Xiaogang ’s New Year Movie, and distinct Beijing-flavor is their remarkable characteristic. His humor include friendly teasing to oneself and others, dramatically imitating to the classical revolution words and instantly popular market Mandarin, and more of them is tickling like comic dialogue, make audience have a taste of intelligence of director during the process of sampling humorously.3) Post-modern comedy try. piled up, pieces together, dramatically imitation ,destroyingthe way of constructing etc. in a large amount in the film, make the line between true and make-up, history and reality, lofty and fantastic fuzzy.Part two: Linguistic context of naissance. The production of any kind of phenomenon can not do without the specific linguistic context, the success of New Year Movie is even more like this.l), The transition of society and culture offers the opportunity for appearance of New Year Movie. 2), The 1990s filmdom situation reserves development space for New Year Movie. 3), The inspiration of light literature, TV play leads New Year Movie to go on the market-oriented road.Part there: Basic forms of New Year Movie. Because the directors follow together with the common principle, New Year Movie presents the distinct type characteristic. According to the subject matter, we can divide it into four kinds: 1), Borak New Year Movie. 2), Love drama of the youth. 3), Life movie. 4), Innovative city movie.Part four: Aesthetic characteristic of New Year Movie.1) Press close to currently life, demonstrate dream of common people. Stylish and daily is its remarkable characteristic.2), Film language that expresses the meaning clearly. Narrative view point, narrative time sequence, the establishment of the story, plot, treatment of final result, etc. demonstrate all the aim that" the form serves the content".3), Emphasize the amusement function, abide by the game rule. New Year Movie has created the relaxed view environment.4), Innovate to the comic film. Not only the content subject matter of the abundant comedy and form of expression, but also paid attention to the time being most suitable for the showing of the comedy. It has inspired the showing of domestic film.Epilogue: Carry on objective appraisal to existence value and artistic defect of New Year Movie, Appeal for the rapid growing up of type更多还原