本文選題：掙扎 + 顛覆　； 參考：《河南師范大學》2015年碩士論文

【摘要】：在中國電影史上第六代導演群體是一個獨特的存在,他們既不同于第五代宏大歷史背景下厚重的歷史責任感敘事,又沒有整體劃一的東方式美學風格審美和強烈的視覺色彩沖突。他們是在開放的環境中自由成長起來的一類人,受到后現代主義文化交替融合的影響,對于電影敘事的表達有著自己獨特的視角,對于社會群體生命的感悟有著深刻的體驗,在文化基礎和畫面的表現有著更系統的知識儲備和基本素養。他們拒絕在主流文化意識形態中去循規蹈矩,以一種特立獨行的“他者”姿態被用來補充西方自由主義知識分子對于東方文化的預期討論,以一種放逐式的自由來客觀表現轉型期邊緣群體的生存狀態,試圖在第五代的榮耀和光環下實現自己的青春突圍。這些使得他們在中國電影場中成為了一個獨特的存在和特定的文化現象,這個群體不再是以往的以共時存在而劃分的群體,更多的是以一種共有的存在出現的群體,他們在叛逆和掙扎中獨立,在狂歡和靜默中注視,在嗜血的疼痛和陰影下的渴望被關注中默默悲哀。在當今復雜多變的電影文化市場中,他們能否以群體的姿態在獲得海外市場關注的背景下,繼續穩步實現國內市場的突圍,能否在商業文化和大眾的選擇中實現突圍?同時在先鋒的道路上形成自己獨特的鏡像符號,是一個值得我們不斷思考的問題。
[Abstract]:The sixth generation of directors is a unique existence in the history of Chinese film. They are different from the heavy historical responsibility narration under the grand historical background of the fifth generation. There is no unified eastern aesthetic style aesthetic and strong visual color conflict. They are a kind of people who grow up freely in an open environment, influenced by the alternation of postmodernism culture, they have their own unique angle of view on the expression of film narration, and they have a profound experience of the life of social groups. In the cultural basis and the performance of the picture has a more systematic knowledge and basic literacy. Refusing to follow the rules in mainstream cultural ideology, they are being used as a maverick "other" to complement the Western liberal intellectual's expected discussion of Oriental culture. This paper presents objectively the living state of the marginal groups in the transition period with a kind of exile freedom, and tries to realize his own youth breakthrough under the glory and aura of the fifth generation. These make them become a unique existence and a specific cultural phenomenon in the Chinese film field. This group is no longer the former group divided by co-existence, but more as a group that appears as a common being. They are independent in rebellion and struggle, gazed at in carnival and silence, mourned silently in the attention of yearning under the pain and shadow of bloodlust. In today's complex and changeable film culture market, can they continue to achieve the breakthrough in the domestic market and the choice of the commercial culture and the public under the background of obtaining the attention of the overseas market in a group attitude? At the same time, forming its own unique image symbol on the road of pioneer is a problem that we should constantly think about.
【學位授予單位】：河南師范大學
【學位級別】：碩士
【學位授予年份】：2015
【分類號】：J905

【參考文獻】

相關碩士學位論文 前1條

1 郭瑾璀;中國當代方言影視劇的審美研究[D];南京師范大學;2011年

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本文編號：2091612