【摘要】 建国后,文艺受社会主义意识型态支配,有很多压抑,"悲剧"是其中一个禁区,既无作品亦无研究。文革后,中国人感性触觉开始甦醒,时代、家园、个人种种不幸,由表象到本体,使生命悲感意识得到培养、还原、提升。本文结合20世纪西方悲剧理论、弗洛依德心理学和亚尔道锡意识形态理论,探讨新时期中国电影的悲剧觉醒。从叙事结构、影像性质及戏剧动作等分析代表影片,建构出悲剧觉醒后受苦生命抗争、坚忍与超越三种提升自我的路向。更多还原

【Abstract】 After the foundation of PRC,arts were dominated by socialist ideology with many an inhibition,of which, "tragedy" is one of the restricted zones without any creation or study. After the Cultural Revolution,it came the awakening of Chinese sensitivity in view of the misfortunes of times,family and individual that in turn cultivated,restored and elevated the tragic consciousness in life from the appearance to the ontology. Based on the theory of western tragedy in20 th century,Freud’s psychology and Althusser’s ideology,this essay explores the awakening of tragedy in Chinese films of New Period by analyzing representative films from their narrative,image property,and dramatic action to construct three ways of elevating oneself after the awakening of tragedy with struggle,fortitude and transcendence.更多还原