【作者】 童业富；

【导师】 曾耀农；

【作者基本信息】 湖南师范大学 ， 文艺学， 2006， 硕士

【副题名】1980年以来中国电影的新历史主义解读

【摘要】 本文以新历史主义理论为视角对1980年以来中国大陆电影进行了解读,旨在探讨影片文本在叙述历史的过程中呈现出来的形态及其与周围社会存在之间的流通往来。在行文过程中,本文以概述和个案分析相结合,以点带面,试图对这一时段的电影有较为全面、深刻的剖析。 文章由引言、论文主体、结语三个部分组成。引言部分在扼要阐述新历史主义的有关理论之后,追踪了相关的研究动态,指明了文章的意义及可能。论文主体由上下两篇组成。上篇从三个方面对影片的形态展开了论述,它以中国影坛独有的代群划分为轴,结合相关影片对此一时段出现的第四、五、六三代创作呈现出来的形态作了相应的归类:第四代,历史的诗意化;第五代,历史的寓言化;第六代,历史的个体化。下篇则从成因和价值取向两个方面对这三类形态的影片进行了较为透辟的分析。在论述影片形态成因时,文章将影片文本还原到了它们产生时的历史语境,在“谈判和交易的隐秘处”窥探到了历史之手是如何将影片塑形成现在这种形态的。影片价值取向这一节则从具体影片文本出发透视了三类形态影片或激进或保守或交织着激进与保守的倾向。结语部分在与中国传统历史观念的比照中,指出了这一时段中国大陆电影对历史的书写是一种另类书写。 1980年以来的中国大陆电影纵横交错地布满了各种权力、利益之线,借助新历史主义理论,在各种话语的往来振摆中,我们或许可以透过经过选择性保存和涂抹的影片文本踪迹触摸到另一类历史。更多还原

【Abstract】 Based on new histoncist theories, this thesis is a study of the movies of Chinese mainland from the 1980 trying to explore the forms of movie texts presented in the process of narrating history and the circulation between movies and their relative social factors. Combining general description with analysis on cases, the thesis tries to achieve a comprehensive and profound understanding of the movies in this period.The thesis is composed of three parts: the introduction, the body and the conclusion. After a brief introduction of the relative New Historicist theories, the introduction part makes a survey of the past studies on this subject and points out the significance and feasibility of the paper. The body is divided further into two parts. The former part discusses the forms of movies from three aspects, classifying them into the following types based on the unique classification of movie works by generation in China. They are the following tendencies as the poetic representation of history by the directors of the fourth generation, allegorical presentation of history by the fifth generation and individualized presentation of history by the sixth generation. The latter part of the body thoroughly analyzes the three types of movies from the aspects of the cause of formation and value orientation. In the discussion of the cause of formation of the movie forms, the paper tries to reveal from "the hidden places of negotiation and exchange" how the history has fashioned the movies into the present forms by analyzing the movies’ historical context at the time of their production. The section on the value orientation of the movies discusses their radical or conservative tendency as well as both radical and conservative tendency based on the analysis of specific movies. The conclusion points out that the movies of Chinese mainland inthis period write the history in a different way in comparison with the Chinese traditional historical ideas.In the movies of Chinese mainland from the 1980, there is a complex crisscross pattern of the arrangements of all kinds of powers and profits. With the application of the New Historicist theories, we might be able to touch a different kind of history by reading the selectively reserved and altered movie texts in the oscillation of all kinds of discourses.更多还原