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中文题名:

 黑泽清电影中的废墟空间研究    

姓名:

 易恬恬    

保密级别:

 公开    

论文语种:

 chi    

学科代码:

 130300    

学科专业:

 戏剧与影视学    

学生类型:

 硕士    

学位:

 艺术学硕士    

学位类型:

 学术学位    

学位年度:

 2024    

校区:

 北京校区培养    

学院:

 艺术与传媒学院    

研究方向:

 影视史论    

第一导师姓名:

 张燕    

第一导师单位:

 艺术与传媒学院    

提交日期:

 2024-06-19    

答辩日期:

 2024-05-26    

外文题名:

 A STUDY OF RUINED SPACES IN KIYOSHI KUROSAWA'S FILMS    

中文关键词:

 黑泽清 ; 日本恐怖电影 ; 空间 ; 时间 ; 废墟    

外文关键词:

 Kurasawa Kiyoshi ; J-horror ; space ; time ; ruins    

中文摘要:

从1986年卢米埃尔兄弟拍摄的《拆墙》开始,废墟便出现在了电影当中。二战后的欧洲,“把摄影机扛到大街上”的创作宗旨引领意大利新现实主义导演走上街头,将满目苍夷的欧洲废墟景象作为叙事的背景,揭露了战后西方社会的历史真实。在华语电影里,“电影诗人”费穆将南方小城的断壁残垣与特定时代人们的内心世界联系起来,表现出“一切景语皆情语”的含蓄东方美学。以贾樟柯为代表的第六代导演,也将电影的现实主义与诗意相结合,在废墟中寄托着小镇青年浓厚的乡愁。总而言之,废墟一直以来便是电影艺术中的重要角色。

在日本,从《二十四只眼睛》中的战争创伤、到《新世纪福音战士》中的未来世界,废墟也始终是电影创作者关注的对象。而对于黑泽清导演而言,废墟意象更是贯穿于他的电影创作序列之中,最终成为其电影作者性的标志。本文以电影史中废墟地位的演变为灵感,以废墟作为故事背景存在、废墟参与电影叙事与废墟成为电影审美意象等三个方面,由表及里对黑泽清电影中的废墟进行研究,从而回答黑泽清如何赋予废墟独特的艺术特色这一中心问题。

第一章的主要目标是将黑泽清电影中的废墟进行较为完整的指认,为后文的研究奠定基础。本章将在索亚的“第三空间”理论的指导下,以历时性为线索,对黑泽清电影中的物质性与精神性废墟的进行归纳。并结合日本历史与社会现实因素,解释黑泽清电影中作为故事背景的废墟的生成原因。

第二章主要从空间叙事的角度出发,旨在探讨黑泽清电影中废墟的叙事特征。受德勒兹电影理论的启发,本章将关注黑泽清的视听与叙事技巧,分析其影片中的废墟为何能带来恐惧的心理感受,并从观众与角色对废墟的感知失能探讨为何废墟是一种“时间-影像”空间,以及从废墟的阈限特性中寻找“动作-影像”的可能。

第三章试图挖掘黑泽清电影中的废墟作为一种文化现象的价值所在。黑泽清偏好寓言文体的电影创作,结合其漫长与复杂的人生与创作经历,务必要从多重视角来审视废墟意象的多义性。所以本章在现象学方法的指引下,从日本传统美学中的物哀、幽玄、侘寂,西方古典美学中的唯美、崇高,现代哲学中的寓言理论、存在主义,以及后现代的解构思潮来为废墟注解。

外文摘要:

Ruins have appeared in movies since the Lumière brothers' 1986 film Démolition d'un mur. In post-World War II Europe, the creative tenet of "taking the camera to the street" led Italian neorealist directors to take to the streets, using the barren landscape of ruins as the backdrop for their narratives, exposing the historical reality of post-war Western society. In Chinese-language films, Fei Mu, the "poet of cinema", linked the broken walls of a small southern town with the inner world of people in a specific era, showing the subtle oriental aesthetics of " all scenes can be translated into language". The sixth generation of Chinese directors, represented by Jia Zhangke, also combined realism and poetry in their movies, and sent the strong nostalgia of small-town youth in the ruins. All in all, ruins have always been an important role in the art of cinema.

In Japan, from the trauma of war in 24 Eyes to the futuristic world of Neo Evangelion, ruins have always been the focus of movie creators. For Kiyoshi Kurosawa, the imagery of ruins is even more prevalent in the sequence of his film creations, and eventually becomes the symbol of his cinematic authorship. Taking the evolution of the status of ruins in the history of cinema as inspiration, this paper examines the ruins in Kurosawa's films from the surface to the interior in terms of the existence of ruins as the background of the story, the participation of ruins in the film's narrative, and the aesthetic imagery of ruins in the film, so as to answer the central question of how Kurosawa gave ruins their unique artistic characteristics.

The main goal of the first chapter is to identify the ruins in Kurosawa Kiyoshi's films in a more complete way, so as to lay the foundation for the later study. In this chapter, under the guidance of Sawyer's theory of the "third space," the material and spiritual ruins in Kurosawa's films are summarized in terms of their temporality. The second chapter explains why ruins are used as the backdrop in Kurosawa's films, taking into account the historical and social realities of Japan.

Chapter 2 focuses on the perspective of spatial narrative, aiming to explore the narrative characteristics of ruins in Kurosawa Kiyoshi's films. Inspired by Deleuze's film theory, this chapter will focus on Kurosawa's audiovisual and narrative techniques, analyze why the ruins in his films can bring about the psychological feeling of fear, explore why ruins are a kind of "time-image" space from the audience's dysfunctional perception of the ruins and the character's dysfunctional perception of the ruins, and explore why ruins are a kind of "time-image" space from the threshold characteristics of ruins. The third chapter attempts to explore the possibility of "action-image" from the threshold characteristics of the ruins.

Chapter 3 attempts to explore the value of ruins in Kurosawa's films as a cultural phenomenon. Kiyoshi Kurosawa's preference for allegorical cinematography, combined with his long and complex life and creative experience, makes it imperative to examine the multiple meanings of the imagery of ruins from multiple perspectives.

参考文献总数:

 127    

馆藏号:

 硕130300/24002    

开放日期:

 2025-06-19    

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