【作者】 吴平平；

【导师】 徐子方；

【作者基本信息】 东南大学 ， 艺术学， 2006， 硕士

【摘要】 1905年,京剧短片《定军山》的拍摄,意味着戏曲艺术传播手段的延伸,也意味着中国电影以自己独有的类型——戏曲电影——开启了历史。本文采撷哲学、传播学、心理学、艺术美学、电影学、戏曲学等多个学科的理论成果,并在文本阅读基础上,佐以丰富的观影、观戏体验以及田野调查的方法,以解释戏曲电影的艺术特质为职志,把其艺术本质的真实情形归纳成一般法则。本文认为戏曲电影是以戏曲表演作为核心元素,以运动的影音作为艺术媒介,戏曲和电影两者艺术特性“互体互用”、相互涵咏而生成的中国独有的电影艺术。因此,本文的结论是:第一,把戏曲搬上银幕,戏曲电影意味着完成类的属性的转化——从戏曲艺术变为电影艺术,这是个艺术重建的过程。在此过程中,戏曲电影运用了和舞台戏曲从本质上有别的媒介特质。这种媒介特质促使戏曲电影的观众产生有别于舞台戏曲观众的感知特点——看戏的幻化;也促使银幕上的戏曲表演,从其所属的表演场合和仪式空间中抽离出来,从而显示出“去场合”性;而与此同时,戏曲电影观众感知的空间性质和行为模式,由于感知内容的“去场合”,也表现出相同的趋向。第二,戏曲电影既表现出它之作为一种电影艺术的广泛的共性,更体现出戏曲电影之作为戏曲电影的独特的个性。戏曲电影以戏曲表演作为核心元素,吸取戏曲“歌、舞、诗”三者通融的特性,通过运动的影音,保留在银幕上,从而使戏曲电影的表演元素、语言处理、影像风格和意义以及观众的感知特点,都表现出有别于其他电影类型的个性特征。戏曲艺术是戏曲电影类的个性的关键成因。第三,从本体论意义来深究戏曲电影之作为戏曲电影的艺术特质,本文认为戏曲电影的艺术本体便是戏曲和电影两者的艺术特性互体互用、浑然一体,也就是说,戏曲电影是父亲(电影艺术)和母亲(戏曲艺术)两者相互涵咏而诞生的独立自在的结晶,在此观点的基础之上,本文提出戏曲电影和纪录电影、科教电影、故事电影、美术电影四者作为电影总概念下的诸平行亚类的中国电影分类图式。更多还原

【Abstract】 In 1905, the shoot of Peking opera short Ding jun Mountain, meant that Chinese opera adopted new transmission medium, even that Chinese film was born with a particular genre—Chinese opera movies. The study is aimed to explain the artistic characteristics of Chinese opera movies, with a variety of theories—such as philosophy, Communication, psychology, aesthetics, film studies, and Chinese opera studies, and with abundant experience of watching movies and Chinese operas, together with the method of field survey.Chinese opera movies, which takes the traditional Chinese opera performance as the core element, and uses kinetic image / sound as artistic medium, and wins mutual benefits between Chinese operas and films in artistic characteristic, is regarded as a particular genre of Chinese films in this paper. It is concluded that: above all, the screen adaptation of Chinese opera is a regenerating course, as a result Chinese opera movies is presented as a genre of film art. During the course, medium different from stage opera is used, which produces dissimilar apperceive of spectator with the stage. At the same time, because the performance in the screen is off the performance context what is affiliated with, it reveals decontextualized qualities in nature, which influence the space character and behavior pattern of the audience actually. Secondly, Chinese opera movies has its characteristics while it shares the commonness as a genre of film art. In fact, Chinese opera is the crucial matter which determines the characteristics of Chinese opera movies. Finally, at the aspect of ontology, the sein of Chinese opera movies is thought that it wins mutual benefits between Chinese opera and film in artistic characteristic, to be blended into one integral whole, which is considered as the being symbol of Chinese opera movies when it remains with the category of film art. In addition, it is this paper advocates the creative concept of blending the artistic characteristic of Chinese opera and film into one integrated mass is a more perfect artistic conception.更多还原