中国当代电影中的纪实现实主义

出版时间:2010年4月   出版时间:复旦大学出版社   作者:姜丰   页数:293  
封面图片

中国当代电影中的纪实现实主义
前言

I declare that this dissertation(1) is the result of my own work and includes nothing which isthe outcome of work done in collaboration;(2) is not substantially the same as any that I have submitted for adegree or diploma or other qualification at any other university; and thatno part of it has already been or in being concurrently submitted for anysuch degree, diploma or other qualification;(3) does not exceed the prescribed limit of 80,000 words.I have used hanyu pinyin for all Chinese names and phrasesthroughout the dissertation, except for names of characters as theyappear in the film's English subtitles. The hanyu pinyin and the original Chinese characters are listed in the "Glossary of Chinese Terms" forcross-reference.All translations of quoted Chinese texts are mine unless otherwisestated.
内容概要

  I declare that this dissertation;is the result of my own work and includes nothing which isthe outcome of work done in collaboration; is not substantially the same as any that I have submitted for adegree or diploma or other qualification at any other university; and thatno part of it has already been or in being concurrently submitted for anysuch degree, diploma or other qualification; does not exceed the prescribed limit of 80,000 words.  I have used hanyu pinyin for all Chinese names and phrasesthroughout the dissertation, except for names of characters as theyappear in the films English subtitles. The hanyu pinyin and the original Chinese characters are listed in the "Glossary of Chinese Terms" forcross -reference.  All translations of quoted Chinese texts are mine unless otherwisestated.
书籍目录

PrefaceAcknowledgementsDissertation
SummaryChapter
One
Introduction1.
New
Chinese
Film:
The
Inadequacy
of
Labels
in
Describing
the
New
Film
Practices
in
China2.
Matpping
Contemoorarv
Chinese
Film3.
Discursive
ParametersChapter
Two
Identifying
Docu-realism
in
Terms
of
History,Philosophy
and
Aesthetics1.
Historically:
Inside
and
Outside
China2.
Philosophically:
The
Redemption
of
Physical
Reality3.
Aesthetic
PrinciplesChapter
Three
Zhang
Yuan:
A
Breakthrough
in
Presenting
Reality
——
Escape
from
the
Encirclement
of
Melo-realism1.
Zhang
Yuan
and
New
Approaches
to
Reality2.
Sons
Cin6ma-v6rit6
Cinema-direct3.
Seventeen
Years
and
the
New
Documentary
MovementChapter
Four
Jia
Zhangke:
Distinguishing
Nostalgia
from
the
Fifth
Generation's
Exoticism1.
Xiaowu:
The
Common
Man's
Consciousness
and
the
Popular
Perspective2.
Platform:
Loose
Narration
and
De-dramatization3.
Unknown
Pleasure:
Redemption
of
Real
Life
Through
SoundChapter
Five
Wang
Xiaoshuai,
Wang
Chao,
Lu
Xuechang,
Zhang
Ming:
Constructing
Docu-realist
Aesthetics
in
Film
Construction1.
Shot·Deep
focus
·
Mise-en-scene2.
Colour-
Light·
Physical
Reality3.
Editing·Montage·
Long-takeConclusionAppendix
Main
Docu-realist
Film
Directors
and
Their
WorksBibliographyGlossary
章节摘录

The
focal
point
of
articulation
between
Chinese
film
art
andChinese
social
life
in
the
1980s
did
not
rest
on
economic
/productive
or
reproductive
reality,
rather
it
lay
in
the
recollectionof
a
shared
nightmare
and
a
common
psychological
referent:
thehistorical
reality
and
representation
of
the
"
Great
ProletarianCultural
Revolution".
In
the
Fourth
Generation
art,
the
CulturalRevolution
appears
absent
in
its
presence.
These
artists
directlyconfronted
the
ten-year
Cultural
Revolution
during
the
first
periodof
their
works
(1979-1981),
but
they
held
a
rather
fixedpsychological
approach,
adopting
an
imploring
posture
ofgrieving,
outworn
humanism,
to
represent
the
era's
"inexorabledoom"
as
if
it
were
a
classical
romantic
tragedy
of
youth.
As
theywere
direct
participants
in
the
Cultural
Revolution,
their
object
wasto
cleanse
the
blood
from
those
unintentionally
murderous
gangs,using
the
passion
of
individual
life
history
and
the
tears
of
youthfultragedy.
They
draw
on
conventional
notions
of
humanity,
humannature,
civility,
and
barbarism
to
dispel
but
also
to
expound
on
theuniqueness
of
this
phantasmic
historical
disaster.
In
the
Fifth
Generation
art,
however,
the
Cultural
Revolutionis
ubiquitously
absent.
Until
the
1980s,
the
Fifth
Generationavoided
this
topic
entirely;
however,
their
films
inevitably
came
toreflect
the
fact
that
they
(not
the
Fourth
Generation)are
theCultural
Revolution's
spiritual
offspring.
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《中国当代电影中的纪实现实主义》由复旦大学出版社出版。
图书标签Tags

英文,传媒,博士论文,电影,营销
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