埃米尔·库斯图里卡电影论略-中国语言文学;影视文学专业论文.docxVIP

摘要 摘要 I I 摘要 作为前南斯拉夫电影的代表人物之一，埃米尔?库斯图里卡自 1980 年代初开 始其电影生涯以来，凭借一系列具有民族特色和人文关怀的电影作品，奠定了在 欧洲影坛的重要地位，也引起了国际电影界的广泛关注。 出生、成长于南斯拉夫并见证、经受着它的解体，库斯图里卡把他的经历与 感悟变成自己电影表达的源泉。他的电影关注南斯拉夫民族本土的历史和人物， 表现了本民族的生存状态。同时，出于对国际市场的考虑，他的电影表达在立足 国内的同时又面向了世界。顾及了两种文化语境的平衡与对话是库斯图里卡电影 的一个重要特色，而自我民族文化身份的表达也就成为了解库斯图里卡电影的关 键之一。 库斯图里卡的电影从家庭关系隐喻的表达出发，完成了对南斯拉夫普通小人 物的关照，同时将社会和历史问题背景式地呈现在电影中，在真实表达自我的基 础上实现了与西方观众的对话。而从文化身份的角度来看，库斯图里卡电影表达 中这种家国的存在，既非完全本土的又非全盘西化的，而是对南斯拉夫文化异质 之后的一种“想象的社群。” 全文依照这个思路展开，简要地评述了库斯图里卡的电影。共分为五章：第 一章介绍该导演的电影历程与争议，第二章分析了他电影中的民族情结，第三章 主要分析他电影中“家”的隐喻和对“人”的关怀，第四章概述其影像表达风格 的相关变化，最后一章从后殖民主义理论的相关角度分析他电影中的“想象的社 群”。 关键词： 埃米尔·库斯图里卡 民族影像 文化身份 Abstract Abstract II II Abstract As one of the most important representative directors of the former Yugoslavic film industry，Emir Kusturica has won great reputation in Balkan and the rest of the Europe for his unique and impressive works since he made his debut in the field of film art in 1981.Born and grown up there, the break up of Yugoslavia is witnessed and suffered by Kusturica ,and these all become the source of his cinema expression. Being influenced by different cultural environment, his works received controversial results between west and east. Kusturica’ films focus on the history and people of his own nation or ethnicity, depict autochthonous situation and culture; simultaneously, for the consideration of film’s commercial purposes, his films have to face the problem of getting the balance between civil and world market, and this point become the key to appreciate Kusturica’s films. Through the metaphor in family’s relation and the concerning of humanself, his films complete the examination of Balkan people, and at the same time showing the social and historical problems as a background, make a dialogue with western audience. And from the view of cultural identity, the sense of home and nation in Kusturica’s films is neither wholesale westernization, nor complete localization. In fact, it is a kind of “imagined community” after intermingling