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1、广西师范大学 硕士学位论文 穿过尘土的优雅贾樟柯电影研究 姓名：王丹 申请学位级别：硕士 专业：中国现当代文学 指导教师：李江 20070101 i 中 文 摘 要 电影是一种通俗化、大众化的艺术形式，属于大众文化的范畴。大众文化因 为与当代大工业生产密切相关，具有与生俱来的商品属性，因而建设和完善以大 众为中心的影像文化消费市场是非常必要的， 这一点对体制改革后的中国大陆电 影而言尤为重要。大众不仅是与票房数字相联系的一个简单的经济学概念，更是 与大众意识形态密切相关的一个文化学概念。但是 1993 年体制改革后的中国大 陆电影的症结之一就是难以把握大众意识形态。 向西方学习，革新电影语言，
2、是中国电影发展的一条必经之路，“新生代” 导演更是被称为“模仿的一代”或“看碟的一代”。他们对欧洲现代电影，尤其 是“作者电影”的借鉴已是不争的事实。在“新生代”导演中，贾樟柯电影以不 无自然主义的运镜方式,将摄影机镜头始终对准当代中国的底层人群,呈现出 “作 者电影”的特征。以贾樟柯电影为研究对象，从“作者电影”的角度切入，探讨 “作者电影”与当代大众意识形态的关系，有利于揭示当下中国大陆电影的症结 所在，从而为当下中国大陆电影的进一步发展探询道路。 贾樟柯电影走了一条“反抗传奇化”的道路，具有鲜明的“作者电影”的特 征。综观贾樟柯的电影，从小山回家到世界表现出共同的主题：用电影 关注变化的
3、中国，普通的人群。贾樟柯从自己的实感经验出发，用电影书写了一 首当代中国底层民众的史诗。贾樟柯的五部故事片小山回家、 小武、 站台、 任逍遥、 世界中都存在着两组相互关联的“对立偶”，即“故 园”“他乡”，“寻找”“失落”。故事的主人公们忙碌地穿梭在“故 园”或“他乡”，寻找着一份切实而微弱的梦想，但他们或者是在“故园”中磨 平了青春的锐气，或者是在“他乡”迷失了自己。在“故园”或“他乡”的舞台 上，幕后的灰色总是解构着台前的绚烂，这一切都指向普通人的生存困境。“反 抗传奇化” 不仅体现在贾樟柯电影的主题上， 还体现在他电影的镜头语言风格上， 非职业演员的本色表演；长镜头、定点拍摄、客观镜头与
4、中远景镜头体现出的客 观、冷静的场面调度；随意截取一段生活流程的散文化的叙事模式；灰暗的色调 与喧嚣的声音，这一切都体现出一种不无自然主义的镜头语言风格。贾樟柯电影 以别具一格的主题和风格呈现出“作者电影”的特征，这一特征固然与中外艺术 思潮的转型、贾樟柯的生活经历、审美趣味有关，更与欧洲艺术电影的滋养和西 方纪实电影理论的影响有关。 面对 90 年代的中国大陆电影界复杂多元的文化语境，贾樟柯电影以客观冷 静的方式， 原生态地呈现底层人的生存困境， 与较多地体现了主流意识形态的 “困 境解决”模式的电影不同。同时贾樟柯电影中的底层关怀、身份认同意识也 与高高在上的精英意识形态不同，从而部分地还
5、原了大众意识形态。当代中国大 ii 众文化虽然以西方大众文化为源头，但有鲜明的时代性和浓郁的民族特色。乡土 中国的呈现，冷静旁观所产生的超越意识，欧洲艺术电影的传统使贾樟柯电影在 面对欧洲大众、拓展国际生存空间的同时也与本土大众产生了疏离。因此，贾樟 柯电影始终处在西方与本土、先锋与大众的夹缝中。贾樟柯电影作为当代中国电 影中的一种文化现象， 它与当代大众意识形态的遇合与疏离都给当代中国大陆电 影提供了借鉴与思考。 关键词：“作者论” “结构作者论” 贾樟柯电影 大众意识形态 关键词：“作者论” “结构作者论” 贾樟柯电影 大众意识形态 i Elegance Beyond Dust The S
6、tudy Of Jia Zhangkes Movies Movie is a popular art form and comes under the category of popular culture. Clo sely related to the notion of modern industry, movie is a commodity at its birth. It foll ws that constructing and perfecting this audience-oriented audio-visual cultural marke t is of high n
7、ecessity, particularly for the movies made on Chinas mainland since its p olitical reform. General public is not merely an economic concept in connection with box office; it is a cultural notion in close relation to public ideology. Since the politica l reform in 1993, however, the movies made on Ch
8、inas mainland have been up again st a difficulty, namely, how to capture public ideology. A discussion of contemporary public ideology, therefore, is of help for further development of Chinas movie industr y. Learning from the Western counterpart and updating movie language are a must i f Chinas mov
9、ie industry is to seek further development. “A New Generation” of dire ctors is outright referred to as “A Generation of Imitators” or “A Generation of DC Vi ewers”. That they draw on modern European movies, particularly on” The Auteurs M ovie”, is beyond debate. Of these new directors, Jia Zhangke,
10、 following naturalistic pr inciple, zeros in on the general public at the bottom of contemporary China and for th at matter his movies exhibit the features of “The Auteurs Movie”. This thesis studies Jia Zhangkes movies from the perspective of “ The Auteurs movie” and discusses its relationship with
11、 public ideology. It will help diagnose the real problems with movies made on Chinas mainland and explore the route for further development. Jia Zhangkes movies react against the legendary movies and exhibit distinctive f eatures of “The Auteurs Movie”. A review of Jia Zhangkes movies, from Xiaoshan
12、 Goes Home to The World, leads us to the conclusion that he pays close attention to the common people in ever-changing China. Proceeding from his life experience, Jia Zh angke composes an epic for the common people at the bottom of todays China. In fiv e of his moviesXiaoshan Goes Home, Xiaowu, Plat
13、eform, Unknown pleasures a nd The Worldcan be detected two intricately interwoven dichotomies, eg homes tead versus foreign land and pursuit versus disappointment. His characters come back and forth between homestead and foreign land in pursuit of a distinct but slim dream, only to lose their origin
14、al teenage aspirations in homestead or get lost in the foreign la nd. Be it the homestead or a foreign land, the harsh reality behind the stage deconstruc ts the dazzling variety presented before the audience, all these pointing to the dilemma ii of human life. Jia Zhangkes movies reacts against leg
15、endary movies in the theme as well as the lines. His movies feature natural performing by nonprofessional actors; h e achieves an objective and dispassionate mood with long lens, prime lens and objecti ve lens. He is good at prosaic narration that is intercepted at random from a natural c ourse of l
16、ife; his movies are characterized by gray hue and uproarious noise, all these displaying the naturalistic movie language style. With his distinguishing theme and la nguage style, Jia Zhangkes movies display the features of “ The Auteurs Movie”, wh ich is not only a result of Jia Zhangkes life experience and artistic taste, but also the i nfluence of art movements in and outside China, particularly of the Western document ary movies. In face with
