宁浩电影中的小人物研究

【作者】 陆生发；

【导师】 张默瀚；

【作者基本信息】 广西艺术学院 ， 戏剧与影视学， 2015， 硕士

【摘要】 宁浩,作为一位70后新生代导演,随着近几年来他执导影片票房的不断上升,备受到关注。他也成了国内炙手可热的导演,成了第六代导演中的佼佼者。从他的《香火》到《心花路放》,可以看得出,他的每部影片都在寻求变化和创新,风格有相似的,如人们所说的疯狂系列《疯狂的石头》与《疯狂的赛车》,当然也有风格迥异的所谓公路片,如《无人区》与《心花路放》,但不管导演选择什么样的题材,他都把视角和关注点放在了普通人或者说更为底层的群体上。他影片中的主人公或者众多的配角,大多是来自社会底层的草根人物,因此,小人物便成了宁浩影片中的主要塑造对象。小人物的悲欢离合、情感纠葛以及他们所体现的精神内涵也就成了导演想要表达的重点。在以小人物作为叙事主体的过程中,在人物叙事的手法和故事结构上呈现出解构主义和后现代表现特点。本文分三个章节:第一章主要分析探讨导演的成长和他执导的影片,简要介绍宁浩的导演成长之路,以及他为什么在影片中比较偏向对小人物的塑造上,这实际上与他本身就是由草根成长的经历有很大的关系。在一访谈节目中,他曾说过他就喜欢关注现实、关注身边老百姓的喜怒哀乐,喜欢对社会问题进行思考,由此不难推断小人物在他心里的份量。同时,通过对其作品进行梳理,可以从纵横两个方向对其进行理解,真正做到知人论世,把握导演塑造小人物背后的所要表达的精神实质。第二章从电影内在的叙事要求来分析小人物在宁浩作品中的作用,阐述了小人物和电影小人物之间的关系。对宁浩电影中的典型小人物形象进行了脸谱式的分析,比较深入地分析小人物在整个作品中的地位,以及在对作品主题的推动和升华上所彰显的特色。第三章是本文的重点,主要分析宁浩电影中小人物的叙事特点,不管是从单部作品还是多部作品来分析,宁浩电影都开始形成自己的风格,最直接的就体现在对人物塑造和叙事特点上,其中他对德里达解构主义理论中的反传统、颠覆权威以及无中心等观点运用得较自如,在他的作品中,塑造的小人物基本不同于传统理解的小人物形象。同时他也运用偶然性、黑色幽默、荒诞等后现代特性的表现方式,通过故事情节来突显和强化人物的性格特征,使人物更为丰富立体。更多还原

【Abstract】 Ning hao, as a new generation directors after 70, with the rise in recent years, he directed the film at the box office, is to focus on. He also became the director of the domestic hot, became the sixth generation of director. From his "family" to "great way to put", can see, he is looking for change and innovation, of every film has a similar style, as people say crazy series "crazy stone" and "crazy car", of course, there are different styles of the so-called highway, such as "no man’s land" and "the great way to put", but the director choose what kind of subjects, he regarded perspective and focus on the ordinary people or more at the bottom of the group. He in the movie the hero or supporting numerous, mostly from the bottom of the grassroots people, therefore, little guy became main ning hao the film shape object. Small people sensitized, emotional entanglements and they embody the spirit of the connotation has become the focus of the directors want to convey. In a little as the main body of the narrative process, on the character of narrative technique and story structure presents the deconstruction and postmodern performance characteristics.This paper into three chapters: the first chapter mainly analyze the growth of the director and he directed the film, a brief introduction to director ning hao’s growth path, and why is he in the film preferred to a worm on the shape of this and he is actually growing up by the grass roots has a lot to do. In an interview, he said he would like to focus on reality, focus on the joys and sorrows of the people around, like thinking about the problems of the society, thus it is not difficult to infer a worm in his heart. At the same time, through carding his works, from the vertical and horizontal directions for understanding and truly Zhi Ren Lun Shi, grasp the director shape behind the little guy to express spirit. The second chapter from the film inner narrative demand to analyze the role of small people in ning hao works, this paper expounds the small people and the relationship between the film a worm. Ning hao film for the typical small people image for the facebook type analysis, more in-depth analysis of a worm in the position in the whole works, as well as the theme in showing the characteristics of driving and sublimation. The third chapter is the focus of this article, the main analysis of ning hao film narrative characteristics of the characters, no matter how works from a single piece or to analyze, ning hao films began to form their own style, the most direct is on the characteristics of characters and narrative, in which he tradition of derrida deconstruction theory, to subvert and no center point to use more freely, in his works, little different from the traditional understanding of basic little image. At the same time he also use of contingency, black humor, absurdity of postmodern features such as performance way, through the story to highlight and strengthen the character’s personality characteristics, make the characters more rich 3 d.更多还原