武侠电影新探

【作者】 李剑；

【导师】 沈义贞；

【作者基本信息】 南京师范大学 ， 电影学， 2006， 硕士

【副题名】以九十年代后的影像文本为例

【摘要】 武侠电影的历史，遵循着周期性发展的运行规律。在数十年的进程中，武侠电影在政治、经济、文化等因素的作用下，不断地经历着调整、兴盛、衰落而再调整的更替过程。尤其是九十年代以来，娱乐至上的观念盛行大陆，激烈的商业竞争扩至全球，武侠电影也出现了向动作片转变的倾向。九十年代后兴起的数字特技在武侠电影制作中所占的比重逐步增大，而在影片的内容上，却忽视了对人情的关注和对人性的表现，因此，真正意义上的武侠电影已不多见。然而，作为承载着中国文化传统和文化精神的电影类型之一，在应对代表着异质文化的外来影片的挑战时，武侠电影完全可以也必须担负起更大的历史使命和文化责任。在当下的世界电影格局中，好莱坞电影文化霸权横扫世界各国的电影市场，而韩国、印度、伊朗等国却凭借其独特的民族电影，坚守住了本民族的文化阵地，捍卫了本民族的文化语境。故此，仔细地研究武侠电影的艺术传达机制，并挖掘其美学价值和文化价值，或可对当前的中国电影在异国电影的包围和冲击下逐步走出困境有所裨益。更多还原

【Abstract】 The development of China’s swordsmen film follows the law of periodic. With the effects of politics, culture and economy, swordsmen film has continually experienced a course from adjust, bloom and decline to readjust in the past several decades. Especially form the 90th, the concept of entertainment first sprawling in the continent and furious market competition expanding to the whole world, there has been a trend in swordsmen film that it starts to transfer to action film. Since the nineties, the burgeoning CGI has been counting more and more parts of the swordsmen film while it ignored to pay sufficient attention to the humankind’s emotions and characters. Therefore, the real swordsmen film today are not as many as before. However, as one of the film genres embodying the Chinese traditional culture and spirits, china’s swordsmen film should take on its culture mission and history responsibility. In today’s world film structure, the Hollywood film hegemony has sweeped the markets of many countries, but at the same time, South Korea, India and Iraq are guarding their culture position and context strongly by right of their unique national films. So, research carefully the art mechanism of the swordsmen film and dig deeply its aesthetic and cultural values, maybe can help today’s china’s film get out of the corner, which now is surrounded and impacted by the films of the other countries.更多还原