| 在年夜半个二十世纪里，法国片子一向掌控着世界影坛的作风与派别的话语权。20世纪50年月以来，法国片子在文明对外政策、国度片子赞助轨制和对好莱坞片子输出限额等政策的卵翼下，一向坚持着较安稳的状况。在新海潮及浩瀚以寻求片子艺术实质的实际及思潮的作用下，多半法国片子创作者一直偏好作者片子，不斟酌受众兴致与造就片子成长所必需的年夜众市场。是以在上个世纪90年月之前法国片子的不雅众群体局限性异常年夜，与此同时，新莱坞片子敏捷突起，以强势的姿势进入法国外乡，在片子类型及文明上对法国片子有着伟大的冲击，惹起法国片子人与常识界的看重和反思，逐渐有开端涌现由作者片子偏向类型片子的趋向，类型片子开端在法国获得成长，尔后再次突起，固然现在干劲仍不敌好莱坞片子成长形式，但法国片子地胜利的将作者片子与类型片子二者融会，在好莱坞形式对全球片子市场伟大冲击下仍能持续成长，时而有到处颂扬的佳作，现代法国片子成了既有着好莱坞类似的运作措施，又根植于本身人文情况成长出一种绝对自力的平易近族片子。本文在综述法国片子古代传统的基本上，体系地剖析了上世纪90年月今后在美国好莱坞类型片的作用及冲击下若何顺从、融会与立异。对此，法语论文，现代有名法国导演吕克·贝松的片子，则昭示出一种胜利地融会了好莱坞办法的法国片子形式。现在在全球化时期，面临好莱坞的文明霸权，很多国度都在追求本身平易近族片子的前途，是以，法语毕业论文，本文研讨的以吕克·贝松为代表确当代法国片子新形式，具有主要的学术实际价值和实际意义，也为现代中国片子若何在“全球化片子”的挑衅中求得更好地生计与成长供给自创。 Abstract: In a midnight in twentieth Century, the French film has always been in control style and faction of world cinema discourse. Since the 20th century, 50 years, French film in foreign cultural policy and national movie sponsored rail system and the Hollywood film output quotas LuanYi, has always insisted on a relatively stable condition. In the new tide and vast to seek the reality and trend of the film art essence under, most French film creator always has a preference for the film, did not consider the audience interest and training necessary for film growth of big public market. In the last century 90 years before the French film audience group limited the eve of the anomaly, at the same time, the new Hollywood film quickly, entered France with a strong local posture, in the film type and the civilization of the French film has a great impact, cause the French people and common sense of community and value reflection, gradually began to appear by the author tends to bias the film film type, type of film growth beginning in France, and then again raised, although now drive still lost to Hollywood film growth form, but the French film victory the author movie and the type of film two in the form of global integration, the Hollywood film market great impact still can continue to grow, and sometimes there are everywhere celebrated masterpiece, modern French film became both a similar operation method of Hollywood, and is rooted in humanity itself The situation grew out of an absolutely independent national film. Based on the review of the French film, the ancient tradition of basically, system analysis in the 1990s in the future in the United States Hollywood genre the influence and the impact if He Shuncong, fusion and innovation. In this regard, the famous modern French director Luc Besson film, reveals a winning blend of the Hollywood way of French film form. Now in the era of globalization, the cultural hegemony of Hollywood, many countries in the pursuit of their own film, is a new form of contemporary French film, with the main academic value and practical significance, and also for the modern Chinese film in the "globalization" of the challenges of a better life and growth supply. 目录: 摘要 3-4 ABSTRACT 4 1 绪论 7-10 1.1 探讨背景和意义 7 1.2 国内外探讨近况综述 7-8 1.3 本文的探讨思路与主要探讨内容 8-10 1.3.1 探讨思路及措施 8 1.3.2 主要探讨内容 8-9 1.3.3 创新点 9-10 2 70 年代前法国电影历史与发展 10-22 2.1 引言 10 2.2 新浪潮前的法国电影历史及发展 10-14 2.3 法国新浪潮电影运动 14-22 2.3.1 法国新浪潮电影运动概述 14-16 2.3.2 法国电影新浪潮的理论新主张—作者论 16-19 2.3.3 新浪潮时代商业片的成功回归 19-20 2.3.4 新浪潮电影对法国电影及电影发展史的作用 20-22 3 70 年代后法国电影的发展 22-28 3.1 70 年代法国电影转型前发展的概述 22 3.2 好莱坞全球化战略对法国电影的冲击 22-23 3.3 法国电影转型 23-26 3.3.1 法国电影业的转型 23-25 3.3.2 法国导演的转型 25-26 3.4 吕克·贝松电影模式 26-28 4 当代法国电影发展近况 28-33 4.1 法国电影业日益健康极其财政资助制度 28-29 4.2 当代法国电影成功的原因 29-33 5 当代法国电影模式对中国电影发展的启示 33-37 5.1 国内电影业发展近况简要略论 33-35 5.2 对当代法国电影模式的借鉴 35-37 6 结论 37-38 致谢 38-39 参考文献 39-41 附录 41 A. 作者在攻读学位期间发表的论文目录 41 |
