- 論馮小剛 \'賀歲片\' 的樣式特征與敘述策略
- ㆍ 저자명
- 曹俊兵
- ㆍ 간행물명
- 중국학논총KCI
- ㆍ 권/호정보
- 2004년|18호(통권18호)|pp.311-329 (19 pages)
- ㆍ 발행정보
- 한국중국문화학회|한국
- ㆍ 파일정보
- 정기간행물|KOR| PDF텍스트(0.64MB)
- ㆍ 주제분야
- 인문학
作爲中國當代著名電影導演,馮小剛最早是從電視劇起家的,而且肇始于電視劇的美工設計。1985年至1990年間,身爲北京電視藝術中心的美工師的馮小剛,先后在《凱旋在子夜》(尤小剛,1986)、《便衣警察》(林汝爲,1987)等多部較有影響的電視連續劇中擔任美工。1990年,馮小剛在從事電視美工設計的同時,開始了影視劇的劇本創作,先后與鄭曉龍合作寫了電影《遭遇激情》(夏剛,1990)的劇本、與王朔合作寫了電視連續劇《編輯部的故事》(趙
Feng Xiaogang is a famous director in modern China. His \"New Year Film\"Part A Part B(1997), Be There Be Square(1998), Sorry Baby(1999) and Big Shot\'s Funeral(2001) have the same style, which being scenic beauty as the high box-office walue on Chinese film arena. After studying cautiously, we consider that Feng Xiaogang\'s \"New Year Film\" called \"comedy\" by himself forms Chinese Screwball Comedy experimentally and successfully, which introduce the aesthetic idea about Genre of world film especially Hollywood to China , adding domestication or oriental culture to Screwball Comedy creatively. The thesis points out its rich inspiration for theory and creation of film in China, then make a detailed exposition for its universal features from Screwball Comedy and the unique narrative technique in following respects: character, subject, construction, coding and so on.
Ⅰ. 馮小剛其人其作 Ⅱ. 馮氏\"賀歲片\"的美學淵源 Ⅲ.馮氏\"賀歲片\"的輕松喜劇化 Ⅳ.馮氏\"賀歲片\"的敘述創新