【作者】 王宇石；

【导师】 陈月华；

【作者基本信息】 哈尔滨工业大学 ， 广播电视艺术学， 2007， 硕士

【摘要】 如果在这世界上有一个让人既快乐又悲伤,既甜蜜又痛苦的地方,那一定就是电影院。电影总是让人瞬间体验悲欢离合所有的情感,使观众心甘情愿变成视觉影像的俘虏。究竟电影的魔力来自何方?对这个问题的解答绕不开对电影欲望系统中身体的剖析。本文旨在通过对电影欲望系统中的身体进行剖析,来解答“观众是如何参与到电影叙事之中、观众的主体身体与明星的影像身体之间到底存在怎样微妙的关系、这两种身体在欲望系统中如何相互作用、想象身体又是如何生成”这一系列问题。文献法、个案分析法、问卷调查法是本文研究所采用的主要方法。首先,借鉴心理学、精神分析的理论观点来研究观众观影的深层心理。观众观影行为缘于期待视野,是主动的、有选择性的,这种主动性一直贯穿在整个观影活动中。观众在观影过程中扮演着不同的角色:梦游者、窥视者、避世者、自恋者、先知者。其次,对电影的欲望系统进行了理论上的梳理。从欲望的概念入手,运用精神分析学中的相关观点对电影的欲望系统理论进行了详细的分析与阐述,对欲望的表述结构、欲望的主体异化、剩余欲望与剩余快感进行了电影化的解读。再次,身体是构成电影欲望系统的形体存在,而构成电影欲望系统的并非只是银幕上的影像身体,作为受众的观众身体同样占有电影欲望系统的半壁江山。因此本文的研究分别从演员身体与观众身体两个维度展开。演员身体在电影欲望系统中表现出多层次性(生理身体、角色身体、影像身体),其中对影像身体的研究作为本文的重点之一。影像身体按照其真实度被划分为“加工的身体”、“虚拟的身体”两个部分。本文对这两种影像身体进行了细分与深化研究,并通过影片实例加以个案分析。观众身体在电影欲望系统中也呈现出多维特性。观众身体具有三个维度:生理身体、主体身体、想象身体。而主体身体的“活跃”需要达到三个前提条件:主体身体的退行状态、摄影机认同、无标识的宣告体系。在观影过程中观众的主体身体通过对演员的影像身体进行凝视,以想象的方式占有演员的影像身体之后,一种虚拟的身体形成了,这就是观众的想象身体。想象身体是观众借影像身体来对自我进行审视而幻化出的一种完形身体。最后,本文以流程图的形式解析了观影过程中身体的互动过程。更多还原

【Abstract】 The cinema is such a place in the world that can make people happy, sad, sweet and also sorrow. Movies can instantly make audience experience all motions in vicissitudes of life, and audience are willingly captured by the vision and image. Where on earth is the magic of movies from? The answer to the question can not be separated from the anatomy of body in the movie appetite system. In this paper, the anatomy of body is applied to solve problems such as“how do audience join in the recount of a film?”,“what are the subtleties between audience and players?”,“how do the two kinds of bodies act on each other?”,“how does the imaginary body generate?”, etc.The main research methods include literature investigation, case study and society survey.The psychology and spirit analysis are used to study the deep-seated psychology in audience when watching a film. The watching behavior of audience results from expectation, which is positive and selective, and the initiative goes through the whole watching activity. During watching, the audience can play different roles such as nightwalker, prier, escaper, self-lover and seer.In this paper, the principle of movie appetite system is combed first. Based on the concept of movie appetite, viewpoints of psychology are applied to give a detail analysis to the appetite theory, and an unscrambler is provided for the description structure of appetite system, conversion of subject body, as well as the residual appetite and the residual happiness.Body constitutes the frame of the movie appetite system. However what constitutes the appetite system is not only the body image on the screen, but also the audience themselves. As a result, the research will be conducted with both players’bodies and audience bodies.Bodies of players show multi-layers (physical body, role body and image body) in the movie desire system. And the image body is mainly researched in the paper, which is divided into two parts, the artificial body and the virtual body, according to the degree of the reliability. Both of the two kinds of image bodies are studied thoroughly, and also analyzed by examples and case study.Audience body also shows multiformity in the movie desire system. There are three forms in audience body: physical body, subject body and imaginary body. The activity of subject body needs three prerequisites, i.e., recessiveness of the subject body, recognition of camera and declaration system of“no identifier”. During watching a film, peering at the image body of players, the subject body of audience begins to bring imagination, and a virtual body is then generated, which is called imaginary body of audience. This is a perfect body imagined by the audience after self-scan of the image body.At last, the multi-action process of the body during watching is analyzed.更多还原