叙述位置与叙述立场——中国电影叙事角度研究.doc

摘 要 本文将叙事学中叙事角度研究的基本理论应用于中国电影叙事研究当中，采用理论分析与文本解读相结合的方式，探寻中国电影在叙事角度运用上的独特发展轨迹。 论文主要内容为： 引言，通过对电影叙事角度研究现状的梳理和描述，提出叙事角度的研究是电影叙事作品解读的重要途径。 第一章，厘清并界定电影中的叙事角度和叙事角色概念，对中国电影视角意识的觉醒过程作了简略的分析和描述。 第二章，通过对中国电影叙事角度类型的梳理，勾勒出其发展轨迹。本文认为，中国电影中的全知叙事经历了创造性的转化，限知叙事在创作实践中得到充分尝试，客观叙事在中国电影史上一再以误读的形式出现是中国特定历史文化影响的结果。 第三章，通过对叙事角色在中国电影中位置和立场演变的梳理，分析了叙事角色位置变化与特定时期中国电影独特叙事特征的关系。本文认为，中国电影中的叙事角色经历了由说书人叙事向个性化叙事、由权威叙事向人物叙事的转变，叙事角色身份和态度也由单一明确向暧昧性的转变。 第四章，分析了叙事角度的多样化对中国电影叙事模式的影响。本文认为，引起中国电影叙事模式转变的诸多原因都属于或源于视角问题。 结语，补叙了严格的叙事角度分类之外的变音。本文认为，现代叙事角度运用的趋势是打破固定搭配，发展出更多样、更复杂的视角选择。 关键词：叙事角度 叙事角色 说书人叙事 个性化叙事 权威叙事 人物叙事 ABSTRACT This dissertation applied the basic theories of narrative perspective into the research of Chinese movie’s narration, by combining the theoretical analysis and the interpretation of the texts, to study the applications of Chinese movie’s narrative perspective. The main contents of this dissertation included： In the introduction, it made clear the present state of the movie’s narrative perspective, noted that the studies of narrative perspective were the most important means to interpret the movie’s narrative works. In chapter 1, it clarified and defined the conceptions of narrative perspective and narrative role in movie, and briefly described and analyzed the awaking process of the perspective consciousness in Chinese movies. In chapter 2, it outlined the applications of Chinese movie’s narrative perspective. The author argued that in Chinese movies, the omniscient narration had gone through a creative transformation, the impersonal narration had been fully put in practices, and the repeated misuses of the impersonal narration were the inevitable result of the Chinese specific history and culture’s influences. In chapter 3, it analyzed the situational and positional changes of Chinese movie’s narrative role and their relationship with the unique narrative characteristics that came into being along with the movie practices in the specific time. The author put forward that the narrative