【作者】 杨光；

【导师】 安燕；

【作者基本信息】 西南交通大学 ， 中国语言文学， 2024， 博士

【摘要】 “风景”(Landscape)的概念从《圣经》旧约全书中出现开始,其内涵历经了地方、山水画、自然风光、人文景观、地域环境等诸多层面的变奏。风景在不同时代、不同地域、不同语言之间反复阐释和译介,衍生出跨越文化边界的意义。现如今,随着风景的“凝视”、风景的文化建构、风景的意识形态、风景与人地关系、风景与记忆、风景与权力等问题被反复重提,艺术作品中的“风景”如何既能提供审美愉悦又能完成概念超越,便成为文本重述与历史重思的肯綮。中国电影对“风景”的研究尚处于起步阶段,尤其是“十七年”时期更是触及寥寥。此时期,中国大陆共发行600余部故事片。风景在其中形成了独树一帜的美学风格与文化系统。它不再是注意力的“剩余物”,而由边缘向中心转移,并在自然山水的基础上变构为政治文化实体、民族国家主体、情感的诗意空间、心灵的现象世界、社会主义新风景的实践,从而生成为历史的崇高形象。本文以“十七年”中国电影的创作语境为背景,以故事片中的“风景”为研究对象,以风景的民族形式、感知审美、修辞转换、呈现机制等问题为导向,立足细致、深入的文本分析,针对风景的影像呈现、创作者的艺术观念、电影传统与美学表达等方面的张力和博弈进行深入观照和洞察,力求在古今中西相关研究的基础上,将风景置于开放、流动、跨媒介、跨学科的研究过程之中,以达到既解构又建构、历时探源与共时探理相统一的目的。全文共分五章:第一章“绪论”,总说论题的研究缘起和研究理路,对研究对象进行界定。通过梳理、审视风景在中外电影史中的位置及研究现状,界定风景概念的形成和演变,关注自然风景和人文景观研究中的不足,为论文寻找突破点。此外,通过文献综述发现风景研究中视觉中心主义和主客二分的局限,从古典美学、风景感知、恋地情结、情感现象学等角度延展风景研究的向度。第二章“自然与山水”,基于自然风景的民族形式进行考察。以国画改造运动、毛泽东诗词与“红色山水”、五十年代美学大讨论中的“自然”等背景为切入,剖析风景与“十七年”影像民族化的联系,并就影像“民族形式”的生成、改写与超越问题进行分析。尤其围绕中国古典美学中的“化”“游”“逸”等概念,有针对性地贴合《早春二月》《李时珍》《舞台姐妹》等文本,剖析风景在美学、文化、政治等维度上的多重建构,拆解黄山、太阳、河流等自然视像如何勾连现代国家民族想象、树立党和伟人的信仰、构建集体意识的崇高、书写地域文化的独特等问题,并串联起城市环境与政治地缘、少数民族与歌舞奇观、日常民俗与曲艺大观等人文景观的讨论。第三章“身体与面容”,聚焦身体的主体性、现代性与伦理性层面的新探。从阶级话语、身体构像、疾病隐喻、具身主体四个层面探讨主体的生成机制,并以儿童电影中的“尚未”景观、体育片中的身体奇观、1957年前后的银幕摩登女郎为研究对象,解析身体依托何种装置生成景观,又取得了何种效果。最后,以伊曼努尔·列维纳斯的“面容”理论进入“异在”身体的考察,探讨他者之“面容”之于自我的情感感受关系,以区别与一般存在论、工具论意义上的身体和主客二分的思维模式。第四章“情感与心景”,探讨情感景观的叙述模态与心灵视景的感知审美。侧重风景的非对象性关系、知觉层面和心性维度等方面的探察。从情感的符号现象学入手,解读故事片中的愉悦、怨恨、亏欠情感是如何通过内化、集体化、移情化、伦理化的手法构建“风景场”,又如何被赋予不同的感情色彩和精神人格。以自然主义文学中的心灵视景为切入,探讨梦境、追忆、憧憬三种心景是如何超越风景的视觉模式,成为社会、文化与政治的镜像。本章的另一个创新点在于以“亲吻”勾连情感与心灵,分析风景场域下的亲吻表演及其社会容受,考述新中国银幕“初吻”景观的呈现。第五章“劳动与翻身”,考察劳动风景的转换机制及社会主义新风景的诞生。“工农兵”劳动场景向风景的转换在故事片中表现出不同的手法与脉络。劳动景观不单是不同主体身份、不同性别身份、不同阶级身份生产实践的过程,也是对“如画”乡村、模式化的工业建设、脸谱化的复员军人的一种反思。劳动景观在神话、时间、性别的修辞中勾勒出历史、国家与革命的风向标,萌发出生产与赶超的意味,构建出一个动员、规训与“跃进”的政治空间。文本个案——《十三陵水库畅想曲》以群像、声景与科技景观为社会主义新风景的诞生注入了新的活力。结语部分,以“物—形—景—情—意—境”六个层次和“自然—身体—情感—心灵—劳动”五个维度小结“十七年”故事片中风景问题的探讨,对风景的民族化改写、主体的生成机制、风景的感知审美与抒情政治、社会主义新风景的诞生做了进一步的总结。同时,还对本文存在的问题与不足,未来风景研究的可能进行了展望。更多还原

【Abstract】 The concept of"landscape"began to appear in the Old Testament of the Bible,and its connotations have undergone various dimensions of variations such as places,landscape paintings,natural scenery,human landscapes,and regional environments.Landscape has been repeatedly interpreted and translated in different eras,regions,and languages,giving rise to meanings that transcend cultural boundaries.Nowadays,as issues such as the"gaze"of landscape,the cultural construction of landscape,the ideology of landscape,the relationship between landscape and man-land relationship,landscape and memory,and landscape and power have been repeatedly raised,the question of how the"landscape"in a work of art can not only provide aesthetic pleasure but also achieve conceptual transcendence has become the subject of textual reinterpretation.How"landscape"in artworks can both provide aesthetic pleasure and attain conceptual transcendence has become the key to textual restatement and historical rethinking.The study of"landscape"in Chinese cinema is still in its nascent stage,particularly during the"Seventeen-Years"era,where it received minimal attention.Throughout this period,over 600 feature films were released in Chinese mainland.The landscape has developed a unique aesthetic style and cultural system.It is no longer a"residue"of attention,but has shifted from the periphery to the centre,and has been transformed based on natural landscapes into a political and cultural entity,a subject of the nation-state,a poetic space of emotion,a phenomenal world of the mind,and the practice of the new socialist landscapes,and has thus been born as a sublime figure of history.This thesis situates itself within the creative context of Chinese films during the"Seventeen-Years"era as the backdrop.It focuses on the examination of"landscape"in feature films and is oriented to the issues related to national forms,perceived aesthetics,rhetorical transformations,and presentation mechanisms of landscapes.Based on detailed and in-depth textual analysis,the research to provide an in-depth view and insight into the tensions and games in the image presentation of landscapes,the artistic concepts of creators,film traditions and aesthetic expressions,etc.,and to strive to,based on relevant studies of ancient and modern China and the West.endeavors to integrate landscape research into an open,fluid,cross-media,and interdisciplinary research framework.This approach is aimed at achieving the dual objectives of deconstruction and construction,while also harmonizing investigations into diachronic exploration with synchronic reasoning.The thesis is structured into five chapters.The first chapter,titled"Introduction,"serves to summarize the genesis and rationale of the thesis while also delineating the research scope.In this chapter,we undertake an examination of the position of landscape within both Chinese and foreign film history,as well as the current research.Through this analysis,we elucidate the development and evolution of the concept of landscape.We also scrutinize the deficiencies present in the study of both natural and humanistic landscapes,seeking to identify a pivotal focus for the thesis.Furthermore,our literature review reveals the constraints associated with visual centrism and the subject-object dichotomy in landscape research.To address these limitations,we advocate for a broader approach to landscape research,encompassing perspectives such as classical aesthetics,landscape perception,topophilia,and emotional phenomenology.The second chapter,titled"Nature and Landscape,"delves into an exploration of the national representations of natural landscapes.Drawing from the backdrop of the National Painting Reform Movement,Mao Zedong’s poetry and"red landscape,"and the discourse surrounding"nature"in the aesthetic conversations of the 1950s,this chapter begins by analyzing their correlation with the nationalization films during the"Seventeen-Years"era.It further examines the genesis,reinterpretation,and transcendence of the"national form"of films.With a particular focus on the notions of"Hua,""You,"and"Yi"within Chinese classical aesthetics,this chapter conducts targeted examinations of texts such as"February,""Li Shizhen,"and"Stage Sisters,"dissecting the multifaceted constructions of landscape within aesthetics,culture,and politics.It elucidates how natural elements like Mount Huang,the sun,and rivers intertwine with the modern nation-state imagination,cement the faith in Party leadership and great figures,foster a sense of collective consciousness,and reflect the distinctiveness of regional cultures.Furthermore,it extends the discourse to encompass humanistic landscapes,including urban environments and political geography,ethnic minority cultures and the splendor of their traditional songs and dances,as well as daily folklore and the grandeur of the music and arts scene.The third chapter,titled"Body and Face,"delves into the subjectivity,modernity,and ethical dimensions of the body.Exploring the generative mechanisms of the subject at four levels:class discourse,bodily constructions,disease metaphor,and embodied subjectivity.This chapter focuses on the portrayal of"not yet"landscapes in children films,the spectacle of the body in sports films,and the depiction of modern women on screen around 1957.Additionally,it analyzes the devices utilized by the body to create landscapes and their effects.Furthermore,the chapter utilizes Emanuel Levinas’s theory of the"face"to investigate the concept of the"other"body,delving into the significance of the"other’s"face.Lastly,it employs Levinas’s theory to examine the emotional connection between the"other’s"face and one’s own feelings,aiming to differentiate it from the conventional existential and instrumental understanding of the body and the subject-object dichotomy mindset.The fourth chapter,titled"Emotions and Soulscapes,"delves into the construction of emotional landscapes and the perceptual aesthetics of soulscapes.Focuses on the exploration of the non-objectivity relationships,perceptual dimensions,and disposition of landscapes.Commencing with the symbolic phenomenology of emotions,this chapter elucidates how emotions such as pleasure,resentment,and indebtedness are constructed"landscape fields"in feature films through processes of internalization,collectivization,empathy,and ethicalization.It also explores how these emotions are imbued with diverse emotional hues and spiritual personas.Furthermore,the chapter initiates its exploration from the perspective of the soulscape in naturalistic literature.It delves into how the three types of soulscapes—dream,remembrance,and longing—transcend the visual landscape mode and serve as mirrors reflecting societal,cultural,and political contexts.An additional innovation in this chapter is the utilization of the"kiss"as a link between emotion and mind.It analyzes the portrayal of kisses within landscapes and their social acceptance,while also examining the depiction of the"first kiss"on screen in new China.The fifth chapter,titled"Laboured and Emancipated,"delves into the conversion mechanism of the labor landscapes and the emergence of the new socialist landscapes.Various feature films depict the transformation of labor scenes involving"workers,peasants,and soldiers"in diverse ways and contexts.The labor landscape not only encompasses the practices of production by individuals with different subjectivities,gender roles,and class backgrounds but also serves as a reflection of the"picturesque"countryside,structured industrial development,and the experiences of demobilized soldiers.Through mythological rhetoric,and temporal and gender dimensions,the labor landscape delineates the historical trajectory,governmental policies,and revolutionary fervor.It imbues the significance of production and progress while constructing a political arena characterized by mobilization,discipline,and"Leap Forward."As illustrated by the textual example of"Ballad of the Ming Tombs Reservior,"the portrayal of group portraits,soundscapes,and technological landscapes injects new vitality into the emergence of the new socialist landscape.In the concluding part,the thesis delves into the landscape issue within the feature films of the"Seventeen-Years"Era,analyzing it through six levels:"material-form-scenery-emotion-meaning-state"and across five dimensions:"nature-body-emotion-mind-labour".It further summarizes the nationalized rewriting of landscapes,the generative mechanism of the subject,the aesthetics of perception and the politics of lyricism in landscapes,and the emergence of the new socialist landscapes.Simultaneously,it addresses the problems and shortcomings of this paper and prospects the possibilities for future landscape research.更多还原