以查理·卓別林和金·凱瑞的電影為例

1、以查理以查理卓別林和金卓別林和金凱瑞的電影為例凱瑞的電影為例 作者】 王智超； 【導(dǎo)師】 李增； 【作者基本信息】 東北師范大學(xué)， 英語(yǔ)語(yǔ)言文學(xué)， 2007， 碩士 【副題名】以查理卓別林和金凱瑞的電影為例 【摘要】 自從電影誕生至今,美國(guó)喜劇電影一直為全世界人民所喜愛(ài),它將現(xiàn)實(shí)生活以諷刺與幽默的手段夸張地再現(xiàn)了出來(lái)。更為重要的是好萊塢這個(gè)著名的電影工業(yè)基地善于采用當(dāng)時(shí)最流行的藝術(shù)元素來(lái)對(duì)電影進(jìn)行包裝,以達(dá)到最佳的藝術(shù)效果,因此在美國(guó)的喜劇電影特別是卓別林和金凱瑞的電影之中我們能看到大量的現(xiàn)代主義和后現(xiàn)代主義元素,這正是制造喜劇效果必不可少的手段。但是無(wú)論是從卓別林還是金凱瑞的電影之中我們看到

2、的都是社會(huì)下層普通民眾的生活狀態(tài),這些小人物用各種幽默甚至是荒謬的方式來(lái)來(lái)和命運(yùn)抗?fàn)?但是在他們的行為背后所反映出的社會(huì)矛盾確是真實(shí)地存在于生活之中。由此可見(jiàn)美國(guó)喜劇電影體現(xiàn)出一種平民化的本質(zhì)屬性。國(guó)內(nèi)外對(duì)美國(guó)喜劇電影的研究通常以作品為中心,但是缺少對(duì)其在長(zhǎng)達(dá)一百多年的各個(gè)時(shí)期里風(fēng)格和本質(zhì)的深層次探討。所以,本論文將致力于平民本質(zhì)的研究,試圖進(jìn)一步擴(kuò)展對(duì)美國(guó)喜劇電影更深層次的認(rèn)識(shí),從而更好地把其精髓所在。引言部分首先概括地介紹了兩次工業(yè)革命中美國(guó)喜劇電影發(fā)展的歷程和意義。接下來(lái)指出國(guó)內(nèi)外學(xué)術(shù)評(píng)論界對(duì)于美國(guó)喜劇電影的研究現(xiàn)狀以及爭(zhēng)議,同時(shí)提出本篇論文的主題:美國(guó)喜劇電影的平民本質(zhì),并且說(shuō)明美國(guó)喜

3、劇電影的現(xiàn)代主義和后現(xiàn)代主義的創(chuàng)作風(fēng)格之中透露出這種平民本質(zhì)。在此基礎(chǔ)上,闡明本篇論文的研究?jī)r(jià)值和現(xiàn)實(shí)意義,將學(xué)術(shù)研究的理論與當(dāng)前中國(guó)的社會(huì)實(shí)際有機(jī)地結(jié)合起來(lái),從現(xiàn)實(shí)的角度來(lái)探究美國(guó)喜劇電影的內(nèi)涵。論文的第一章主要分析了美國(guó)喜劇電影從一開(kāi)始就深受各種因素的共同影響。首先它有著深刻的社會(huì)和思想基礎(chǔ),這里有第二次和第三次工業(yè)革命過(guò)程中科技進(jìn)步的作用,貧富分化產(chǎn)生的社會(huì)基本矛盾加劇,同時(shí)期民主思想的傳播和文藝?yán)碚摰亩嘣?。其?電影創(chuàng)作者的生活經(jīng)歷對(duì)于他們的作品有著巨大的影響,美國(guó)喜劇電影的兩位大師卓別林和金凱瑞的人生經(jīng)歷從一開(kāi)始就受到批評(píng)家們的重視。最后通過(guò)分析上述的兩個(gè)方面,我們可以發(fā)現(xiàn)平民本質(zhì)

4、的內(nèi)涵體現(xiàn)在以下四個(gè)方面:對(duì)小人物命運(yùn)的關(guān)懷,對(duì)資本主義社會(huì)陰暗面的關(guān)注,對(duì)商業(yè)競(jìng)爭(zhēng)社會(huì)人與人之間關(guān)系的剖析,反抗不公平社會(huì)的行為。論文的第二章主要分析了美國(guó)早期喜劇電影的現(xiàn)代主義風(fēng)格特征。在這里簡(jiǎn)要的說(shuō)明了現(xiàn)代主義的概念和影響,因?yàn)楝F(xiàn)代主義誕生于第二次工業(yè)革命之后,是對(duì)現(xiàn)代社會(huì)的一種反叛和批判,主張個(gè)性化強(qiáng)調(diào)個(gè)人的自由。這個(gè)思潮在當(dāng)時(shí)有著廣泛的影響力,所以它也對(duì)當(dāng)時(shí)早期美國(guó)喜劇電影有著很大的影響。特別是在卓別林生活的時(shí)代現(xiàn)代主義開(kāi)始興起,所以對(duì)于現(xiàn)代主義的關(guān)注可以有效的認(rèn)識(shí)早期美國(guó)喜劇電影的風(fēng)格。論文的第三章主要分析了二戰(zhàn)之后美國(guó)喜劇電影的后現(xiàn)代主義風(fēng)格特征。后現(xiàn)代主義打破藝術(shù)與生活的界限;

5、強(qiáng)調(diào)從主觀感情到轉(zhuǎn)向客觀世界;對(duì)個(gè)性和風(fēng)格持漠視或敵視態(tài)度;主張藝術(shù)平民化,大量適用大眾傳播媒介。這些觀念對(duì)于當(dāng)代的美國(guó)喜劇電影有著深刻的影響,我們?cè)诮饎P瑞電影之中看到的很多夸張且富有想象力表演,都是后現(xiàn)代主義的風(fēng)格在電影之中的再現(xiàn)。本文在結(jié)論中一方面通過(guò)對(duì)現(xiàn)代主義、后現(xiàn)代主義和平民本質(zhì)的了解品析出喜劇電影真正的內(nèi)涵所在,不再以流行的眼光來(lái)評(píng)論影視作品;另一方面,在社會(huì)轉(zhuǎn)型期的中國(guó)所面臨的一系列社會(huì)問(wèn)題和矛盾在美國(guó)喜劇電影之中都能夠體現(xiàn)出來(lái),這種平民本質(zhì)對(duì)于用“以人為本”的精神來(lái)“建立和諧社會(huì)”還是有積極的建設(shè)性作用的。這也是本篇論文的實(shí)踐價(jià)值所在。 更多還原 【Abstract】 Since

6、 the birth of film, American comedy film has been always enjoyed by the people of the whole world. It reflects the real life in the way of satire and humour in order to make spectators sympathize with the ideas of creators. There is a more important reason that Hollywood is good at using the most po

7、pular elements of art to pack films so as to achieve the best artistic effect, so we can see many elements of modernism and postmodernism in American comedy films, especially the films of Charlie Chaplin and Jim Carrey. However, from these films, we all see the living situation of common people at t

8、hat time. They use all kinds of humourous and even ridiculous way to struggle with their destiny, but behind their action, the social conflict, exists in the daily life. The portrayal of common people shows the pursuit of the commonalty in American comedy film.With regard to American comedy film, th

9、e domestic and overseas investigations often focus on the texts of film, but ignore the discussion of theme and styles during the period of one hundred years. Therefore, this thesis will conduct the research into the theme and the styles of American comedy.The part of introduction generalizes the de

10、velopment and significance of American comedy film during the second and third industrial revolution. Through the comparison among the various investigations and debates of academia for American comedy film, the commonalty is showed in this part. And then the subject will be implicated in the creati

11、ve styles of modernism and postmodernism. While indicating the investigative value and practical significance, the modernist and postmodernist theory may be combined with the social reality in order to search the implication of American comedy film, realistically.Chapter One focuses on the theme of

12、American comedythe commonalty. Firstly, it has a profound basis of society and thought, including the function of advanced science and technology during the process of industrial revolution, the intension of social conflicts, the development of democracy and socialism, and the pluralistic theory of

13、literature and art. Secondly, the experience of the creators of film has enormous influence on their works. Literary critics always pay attention to the living experiences of Chaplin and Jim Carrey. Finally, through the analysis, the commonalty will show the following four aspects: the solicitude fo

14、r the destiny of the little, the attention to the seamy side of capitalism, the anatomy of relationship among people in the commercial society, and the reaction against the unequal reality.Chapter Two explains the modernist characteristics of American comedy film in the early time. In this part, wit

15、h regard to the modernist movement and its influence on the comedy of the time, the emphasis of analysis will be directed at Charlie Chaplins comedy. Modernism is a kind of rebellion and critique towards the modern society and has extensive influence at that time. American comedy film also employs t

16、he useful elements for reference. Modernism advocates individualization and personal freedom. The attention to modernism is effective to understand the early style of American comedy film.Chapter Three introduces the postmodernist characteristics of American comedy film after World War. Postmodernis

17、m breaks the boundary between art and life, emphasizes the transformation from subjective feeling to objective world, has the hostile attitude for individuality and style, and advocates the art of commonalty so as to apply to the mass media. These notions have profound influence on American comedy f

18、ilm in the contemporary times. The exaggerative and fantastic action in the films of Jim Carrey is the emersion of the style of postmodernism.In conclusion, the thesis summarizes the real implication of American comedy film through the understanding of modernism, postmodernism, and the commonalty. A

19、t the same time, it also touches the realistic problem in China, which can draw some lessons from the American comedy in“building a harmonious society”through the“people-oriented”principle. This is also the practical value of the thesis. 更多還原 【關(guān)鍵詞】 美國(guó)喜劇電影； 平民本質(zhì)； 現(xiàn)代主義； 后現(xiàn)代主義； 風(fēng)格； 【Key words】 American

20、 comedy film； the commonalty； modernism； postmodernism； style； 參考文獻(xiàn)： 愛(ài)因斯坦和卓別林 格式：pdf | 發(fā)布者：斌斌 8267 | 發(fā)布時(shí)間：2010-09-16 著名科學(xué)家愛(ài)因斯坦非常推崇卓別林的電影。一次，他在給卓別林的一封信中寫道：“你的電影摩登時(shí)代，世界上的每一個(gè)人都能看懂，你一定會(huì)成為一個(gè)偉人。愛(ài)因斯坦?！?趙本山和卓別林在反“三俗”中的思考 格式：pdf | 發(fā)布者：Shmily 花兒 | 發(fā)布時(shí)間：2011-01-11 生根于貧瘠的土壤,以其頑強(qiáng)的生命,倔強(qiáng)地破土而出,以其不擇地而生的性格孳生蔓延,人間開(kāi)始出現(xiàn)

21、一片新綠。這片新綠的種子隨風(fēng)披靡遐邇,造成了綠色的世界。春風(fēng)助其生,野火遏其. “本山小品”創(chuàng)造了喜劇經(jīng)典嗎？ 格式：pdf | 發(fā)布者：粘粘妹 | 發(fā)布時(shí)間：2011-01-11 十年前，我在影視鑒賞課上讓學(xué)生們?cè)u(píng)價(jià)卓別林和周星馳在電影藝術(shù)領(lǐng)域的地位，一位來(lái)蹭課的研究生回答：“大師與過(guò)客。”喜歡周星馳的本科生立刻追問(wèn)：“什么是大師？”研. 第一卓別林 格式：pdf | 發(fā)布者：177233188 | 發(fā)布時(shí)間：2010-09-11 尊重的境界 格式：pdf | 發(fā)布者：Summerzhang | 發(fā)布時(shí)間：2011-07-01 一次，卓別林正要登臺(tái)演出，一位熱心的觀眾忽然提醒他：“大師，你的

22、上衣紐扣忘了扣了?！弊縿e林一怔，連忙表示感謝，很快將組扣系好。那位觀眾走后。他又悄悄把紐扣解開(kāi)。 作者】 王智超； 【導(dǎo)師】 李增； 【作者基本信息】 東北師范大學(xué)， 英語(yǔ)語(yǔ)言文學(xué)， 2007， 碩士 【副題名】以查理卓別林和金凱瑞的電影為例 【摘要】 自從電影誕生至今,美國(guó)喜劇電影一直為全世界人民所喜愛(ài),它將現(xiàn)實(shí)生活以諷刺與幽默的手段夸張地再現(xiàn)了出來(lái)。更為重要的是好萊塢這個(gè)著名的電影工業(yè)基地善于采用當(dāng)時(shí)最流行的藝術(shù)元素來(lái)對(duì)電影進(jìn)行包裝,以達(dá)到最佳的藝術(shù)效果,因此在美國(guó)的喜劇電影特別是卓別林和金凱瑞的電影之中我們能看到大量的現(xiàn)代主義和后現(xiàn)代主義元素,這正是制造喜劇效果必不可少的手段。但是無(wú)論是

23、從卓別林還是金凱瑞的電影之中我們看到的都是社會(huì)下層普通民眾的生活狀態(tài),這些小人物用各種幽默甚至是荒謬的方式來(lái)來(lái)和命運(yùn)抗?fàn)?但是在他們的行為背后所反映出的社會(huì)矛盾確是真實(shí)地存在于生活之中。由此可見(jiàn)美國(guó)喜劇電影體現(xiàn)出一種平民化的本質(zhì)屬性。國(guó)內(nèi)外對(duì)美國(guó)喜劇電影的研究通常以作品為中心,但是缺少對(duì)其在長(zhǎng)達(dá)一百多年的各個(gè)時(shí)期里風(fēng)格和本質(zhì)的深層次探討。所以,本論文將致力于平民本質(zhì)的研究,試圖進(jìn)一步擴(kuò)展對(duì)美國(guó)喜劇電影更深層次的認(rèn)識(shí),從而更好地把其精髓所在。引言部分首先概括地介紹了兩次工業(yè)革命中美國(guó)喜劇電影發(fā)展的歷程和意義。接下來(lái)指出國(guó)內(nèi)外學(xué)術(shù)評(píng)論界對(duì)于美國(guó)喜劇電影的研究現(xiàn)狀以及爭(zhēng)議,同時(shí)提出本篇論文的主題:美

24、國(guó)喜劇電影的平民本質(zhì),并且說(shuō)明美國(guó)喜劇電影的現(xiàn)代主義和后現(xiàn)代主義的創(chuàng)作風(fēng)格之中透露出這種平民本質(zhì)。在此基礎(chǔ)上,闡明本篇論文的研究?jī)r(jià)值和現(xiàn)實(shí)意義,將學(xué)術(shù)研究的理論與當(dāng)前中國(guó)的社會(huì)實(shí)際有機(jī)地結(jié)合起來(lái),從現(xiàn)實(shí)的角度來(lái)探究美國(guó)喜劇電影的內(nèi)涵。論文的第一章主要分析了美國(guó)喜劇電影從一開(kāi)始就深受各種因素的共同影響。首先它有著深刻的社會(huì)和思想基礎(chǔ),這里有第二次和第三次工業(yè)革命過(guò)程中科技進(jìn)步的作用,貧富分化產(chǎn)生的社會(huì)基本矛盾加劇,同時(shí)期民主思想的傳播和文藝?yán)碚摰亩嘣Ｆ浯?電影創(chuàng)作者的生活經(jīng)歷對(duì)于他們的作品有著巨大的影響,美國(guó)喜劇電影的兩位大師卓別林和金凱瑞的人生經(jīng)歷從一開(kāi)始就受到批評(píng)家們的重視。最后通過(guò)分析

25、上述的兩個(gè)方面,我們可以發(fā)現(xiàn)平民本質(zhì)的內(nèi)涵體現(xiàn)在以下四個(gè)方面:對(duì)小人物命運(yùn)的關(guān)懷,對(duì)資本主義社會(huì)陰暗面的關(guān)注,對(duì)商業(yè)競(jìng)爭(zhēng)社會(huì)人與人之間關(guān)系的剖析,反抗不公平社會(huì)的行為。論文的第二章主要分析了美國(guó)早期喜劇電影的現(xiàn)代主義風(fēng)格特征。在這里簡(jiǎn)要的說(shuō)明了現(xiàn)代主義的概念和影響,因?yàn)楝F(xiàn)代主義誕生于第二次工業(yè)革命之后,是對(duì)現(xiàn)代社會(huì)的一種反叛和批判,主張個(gè)性化強(qiáng)調(diào)個(gè)人的自由。這個(gè)思潮在當(dāng)時(shí)有著廣泛的影響力,所以它也對(duì)當(dāng)時(shí)早期美國(guó)喜劇電影有著很大的影響。特別是在卓別林生活的時(shí)代現(xiàn)代主義開(kāi)始興起,所以對(duì)于現(xiàn)代主義的關(guān)注可以有效的認(rèn)識(shí)早期美國(guó)喜劇電影的風(fēng)格。論文的第三章主要分析了二戰(zhàn)之后美國(guó)喜劇電影的后現(xiàn)代主義風(fēng)格特

26、征。后現(xiàn)代主義打破藝術(shù)與生活的界限;強(qiáng)調(diào)從主觀感情到轉(zhuǎn)向客觀世界;對(duì)個(gè)性和風(fēng)格持漠視或敵視態(tài)度;主張藝術(shù)平民化,大量適用大眾傳播媒介。這些觀念對(duì)于當(dāng)代的美國(guó)喜劇電影有著深刻的影響,我們?cè)诮饎P瑞電影之中看到的很多夸張且富有想象力表演,都是后現(xiàn)代主義的風(fēng)格在電影之中的再現(xiàn)。本文在結(jié)論中一方面通過(guò)對(duì)現(xiàn)代主義、后現(xiàn)代主義和平民本質(zhì)的了解品析出喜劇電影真正的內(nèi)涵所在,不再以流行的眼光來(lái)評(píng)論影視作品;另一方面,在社會(huì)轉(zhuǎn)型期的中國(guó)所面臨的一系列社會(huì)問(wèn)題和矛盾在美國(guó)喜劇電影之中都能夠體現(xiàn)出來(lái),這種平民本質(zhì)對(duì)于用“以人為本”的精神來(lái)“建立和諧社會(huì)”還是有積極的建設(shè)性作用的。這也是本篇論文的實(shí)踐價(jià)值所在。 更多還

27、原 【Abstract】 Since the birth of film, American comedy film has been always enjoyed by the people of the whole world. It reflects the real life in the way of satire and humour in order to make spectators sympathize with the ideas of creators. There is a more important reason that Hollywood is good at

28、 using the most popular elements of art to pack films so as to achieve the best artistic effect, so we can see many elements of modernism and postmodernism in American comedy films, especially the films of Charlie Chaplin and Jim Carrey. However, from these films, we all see the living situation of

29、common people at that time. They use all kinds of humourous and even ridiculous way to struggle with their destiny, but behind their action, the social conflict, exists in the daily life. The portrayal of common people shows the pursuit of the commonalty in American comedy film.With regard to Americ

30、an comedy film, the domestic and overseas investigations often focus on the texts of film, but ignore the discussion of theme and styles during the period of one hundred years. Therefore, this thesis will conduct the research into the theme and the styles of American comedy.The part of introduction

31、generalizes the development and significance of American comedy film during the second and third industrial revolution. Through the comparison among the various investigations and debates of academia for American comedy film, the commonalty is showed in this part. And then the subject will be implic

32、ated in the creative styles of modernism and postmodernism. While indicating the investigative value and practical significance, the modernist and postmodernist theory may be combined with the social reality in order to search the implication of American comedy film, realistically.Chapter One focuse

33、s on the theme of American comedythe commonalty. Firstly, it has a profound basis of society and thought, including the function of advanced science and technology during the process of industrial revolution, the intension of social conflicts, the development of democracy and socialism, and the plur

34、alistic theory of literature and art. Secondly, the experience of the creators of film has enormous influence on their works. Literary critics always pay attention to the living experiences of Chaplin and Jim Carrey. Finally, through the analysis, the commonalty will show the following four aspects:

35、 the solicitude for the destiny of the little, the attention to the seamy side of capitalism, the anatomy of relationship among people in the commercial society, and the reaction against the unequal reality.Chapter Two explains the modernist characteristics of American comedy film in the early time.

36、 In this part, with regard to the modernist movement and its influence on the comedy of the time, the emphasis of analysis will be directed at Charlie Chaplins comedy. Modernism is a kind of rebellion and critique towards the modern society and has extensive influence at that time. American comedy f

37、ilm also employs the useful elements for reference. Modernism advocates individualization and personal freedom. The attention to modernism is effective to understand the early style of American comedy film.Chapter Three introduces the postmodernist characteristics of American comedy film after World

38、 War. Postmodernism breaks the boundary between art and life, emphasizes the transformation from subjective feeling to objective world, has the hostile attitude for individuality and style, and advocates the art of commonalty so as to apply to the mass media. These notions have profound influence on