兰州大学机构库 >文学院
电影的非线性叙事
Alternative TitleFilm Nonlinear Narrative
张秀娟
Thesis Advisor赵建新
2010-05-05
Degree Grantor兰州大学
Place of Conferral兰州
Degree Name硕士
Keyword电影叙事 线性叙事 非线性叙事 叙事时空 叙事视角 叙事结构
Abstract在当今的电影界,弥漫着一股非线性叙事的结构风潮,回顾电影史,这种传统其实由来已久。本论文试图将叙事学的理论运用到电影当中,通过对作品的分析,试图构造一个系统的非线性叙事理论体系,通过文字文本与电影、线性叙事与非线性叙事的比较,分析电影非线性叙事的独特性。 论文主要分为五个部分。 第一个部分,对非线性叙事的概念做一个梳理,得出自己的一个定义,阐述非线性叙事在电影史上的发展轨迹,分析其风靡的历史原因。 第二部分,论述电影非线性叙事的时空呈现,从时序、时距、空间元素及空间意识等方面分析非线性叙事在电影中的运用情况。 第三个部分论述电影非线性叙事的多层叙述视角,这一部分从电影的多线视角展开,分析电影作者的多重化身份,并探讨全知视角与限知视角与线性叙事、非线性叙事之间的关系。 第四个部分,论述非线性叙事的结构,通过前面三章对电影非线性叙事特点的梳理,将其结构方式进行分类,并举例论证。然后再从电影视听语言的技术层面阐述电影非线性叙事的独特视听效果,最后论述非线性叙事结构之技与结构之道的统一。 第五个部分,研究电影非线性叙事的接受之维,分别从接受主体和接受客体两个角度展开,分析非线性叙事流行于电影的原因所在,最后分析观众对于非线性叙事的理解底线。 五个部分不仅有理论的分析,也有实例的论证。在对非线性叙事理论进行系统性的归纳和论述之后,总结出电影非线性叙事运用中需要注意的几个问题,对当下的电影创作提出一些建议,以期望电影叙事能够健康地发展。
Other AbstractIn recent field of film, there is a fashion of nonlinear narrative structure. But look back to the history of the film, this fashion had a long story. This paper attempts to use narrative theory to the film which, through the work of trying to construct a systematic theoretical system of nonlinear narrative. With the comparison between text and film, as well as linear narrative and non-linear narrative, try to analyze the film unique non-linear narrative. Paper is divided into five parts. In the first part, make a comb of the concept of the nonlinear narrative theory in order to come to my own definition. Set of nonlinear narrative in film history of the development path with attempt to find out its popular historical reasons. The second part discusses the nonlinear narrative time and space show in the film. Talk about the use of nonlinear narrative in the film from its elements such as time order, time distance, space factors and spatial awareness. The third part discusses the nonlinear narrative multi-layer film narrative perspective, the part of the multi-line view from the movie to start, analysis of the film director of multiple identities, and to explore the relationship between omniscient perspective , limited perspective and linear narrative, non-linear narrative. The fourth section discusses the nonlinear narrative structure. Through the nonlinear film narrative feature discussion of the previous three chapters, try to make a classification of its structure, and illustrate them. Then, from the movie audio-visual language of the technical aspects of the film, elaborate the unique audio and visual effects of film non-line narrative. Finally, discusses the thought and technology of nonlinear narrative structure in a unified way. The fifth part discusses the film's nonlinear narrative dimension of acceptance from two angles-the acceptance of the subject and the object. Then analyze the reasons for the movie non-linear narrative popularity. The final analysis is the audience understanding bottom line for the film non-linear narrative way. Five-part not only of theoretical analysis, there are instances of the argument. After the discussion and conclusion of the theory of systematic non-linear narrative, sum up several issues that need attention in the use of non-linear narrative in the film with attempt to make some suggestions to the immediate creation of films, in order to make a healthier development of film narrative.
URL查看原文
Language中文
Document Type学位论文
Identifierhttps://ir.lzu.edu.cn/handle/262010/228669
Collection文学院
Recommended Citation
GB/T 7714
张秀娟. 电影的非线性叙事[D]. 兰州. 兰州大学,2010.
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