霍建起所导演电影作品的转型探究

　　中文摘要

　　霍建起导演作为美术师出身，虽然不如张艺谋、陈凯歌等同时代的导演成就非凡，但是他的电影作品却总能够在国际、国内电影节上获奖，并且他的作品往往体现出与众不同的风格。作为第五代导演中的一员，与其他第五代导演一样，在中国电影市场不断变化的时代，他们的创作面临着转型的困境。

　　以往研究霍建起导演的文章，往往立足于对霍建起导演前期的几部艺术成就比较高的作品如《那山那人那狗》、《暖》等进行单片分析或者系统分析，而且重点对霍建起诗化的影像风格进行解读，因此对霍建起电影进行系统、整体研究在目前的学术界是缺失的。所以，笔者在本文中将从霍建起导演的第一部影片《赢家》到其近期最新作品《萧红》进行总体的梳理，从转型的角度切入，对其转型过程、转型原因、转型评价进行较为系统的梳理，相对客观、理性地把握霍建起导演创作的困境和局限，通过这样地梳理以便更好地确定霍建起导演在中国电影史上的地位。

　　本文第一章主要是对霍建起导演电影的转型脉络进行梳理，归纳出霍建起导演转型前的电影作品具有强烈的诗化风格，叙事单一，抒情大于叙事等特点，而霍建起导演在转型后的电影作品中重视叙事深度的挖掘，诗化风格比较平淡，叙事重于抒情。透过这些变化，将霍建起导演电影转型前与转型后的电影文本对比分析，从主题、叙事策略和影像风格方面分析霍建起导演电影的转型。

　　本文第二章主要分析霍建起导演电影转型的原因。在客观原因方面，霍建起导演电影的转型是迫于时代背景和社会文化语境的变化--市场经济的发展，主流意识形态的变迁使得霍建起导演最终走向了与主流意识形态合体的道路。在主观原因方面，霍建起独特的性格气质、与中国传统相契合的审美情趣以及注重自我超越的创作观念等使得他的创作呈现出与众不同的气质，影响着他的创作转型。

　　本文第三部分是对霍建起导演电影转型的得失进行评价。在“得”的方面，笔者认为霍建起导演具有创新精神、敢于突破自我，并且会随着市场的变化调整自己的创作方向，但又不完全失去自我；霍建起导演善于从文学中汲取营养，与苏小卫夫妻档进行电影创作，使得文学作品的改编与电影创作之间实现了一种良性互动，从而使影片产生不同凡响的艺术魅力。在“失”的方面，笔者认为，霍建起导演电影中充满了浪漫主义的气息，但由于他极为追求意境的营造、唯美的效果，因此在人物刻画上与现实相较偏于完美，影片中人物的性格显得单薄和片面，思想深度大打折扣；在商业化浪潮的影响下，霍建起导演在创作上虽然具有“电影意识”也就是“观众意识”,在电影创作上极力向观众靠拢，但是由于导演骨子里具有的“精英意识”和对观众审美需求理解的偏差，令其影片难以引起观众的共鸣；由于社会转型期商业化大潮的影响，霍建起处于迷茫和困惑中，这也导致他的电影一直在艺术性、商业性与意识形态性之间游移着，使得他转型后的影片既成不了纯粹的文艺片，也不是媚俗的商业片，霍建起在这种“都不是”中渐渐丧失了自己的位置，导致其转型后的作品未能达到应有的思想艺术高度。

　　结语部分指出尽管霍建起导演对于创作转型有些力不从心，转型的结果不尽如人意。但是，霍建起不断创新的电影创作观念，无论是为主流电影的表现内容与叙事策略、主流电影的人物塑造还是主流电影的影像语言表达，都提供了很好的借鉴作用。这种关于主流电影艺术本体的探索，缝合了艺术、市场、观念三者在主流电影中产生的意识与现实的裂缝。所以，其对于转型的尝试，是值得提倡的。

　　【关键词】霍建起；电影；转型

　　Abstract

　　As an artist born director Huo Jianqi, although not as good as Zhang Yimou, Chen Kaigeand other contemporary director extraordinary achievements, but his films are always able inthe domestic and international film festival awards, and his works often reflect the distinctivestyle. As the fifth generation director, a member, with the other fifth-generation directors, asin the era of the Chinese film market continues to change, they are faced with the dilemma ofcreative transformation.

　　Previous studies director Huo Jianqi articles, often based on Huo Jianqi director ofseveral early works of high artistic achievement as “Postmen in the Mountains”, “warm” andother chip analysis or systems analysis, and the focus of poetic Huo Jianqi image styleinterpretation, so Huo Jianqi movie system, as a whole in the current academic research ismissing. Therefore, the author in this paper from the first film directed by Huo Jianqi“winners” to its recent latest work, “Xiao Hong” overall sort, from the transformation of theangle, conducted its transition process, transition reason, a more systematic evaluation oftransition It combs, relatively objective and rational grasp dilemmas and creative director HuoJianqi limitations in order to better determine the status of the Chinese director Huo Jianqimovie history combing through this.

　　The first chapter is mainly on the transformation of the context of the film director HuoJianqi sort, summed films director Huo Jianqi before the transition with a strong poetic style,single narrative, lyrical greater than narrative features, while in the transition director HuoJianqi films pay attention to the depth of the excavation narrative, poetic style relatively flat,the narrative is more important than lyrical. Through these changes, the former director HuoJianqi movie movie text transformation and analyzed after the transition, from the subject,narrative strategy and image analyzes transition style movie director Huo Jianqi.

　　The second chapter analyzes the causes of the movie director Huo Jianqi transformation.

　　In terms of objective reasons, the film's director Huo Jianqi transition is forced to change thebackground and the social and cultural context - the market economy, the mainstreamideology director Huo Jianqi make final changes to fit with the mainstream ideology of theroad. In terms of subjective reasons, Huo Jianqi unique character qualities, aesthetic fit withChinese tradition and attention to the creation of the concept of self-transcendence and somakes his creations exhibit unique temperament, affect his creative transformation.

　　The third chapter is a movie director Huo Jianqi transition to evaluate the pros and cons.In terms of “get”, I believe that the director Huo Jianqi innovative spirit, the courage to breakthrough the self, as the market changes and will adjust their creative direction, but notcompletely lose yourself; director Huo Jianqi good at absorbing nutrients from the literature,and Su Wei Husband and wife were film-making, so as to achieve a positive interactionbetween adaptation and film-making literature, so that the film produced extraordinary artisticcharm. In terms of “lost”, I believe, a movie director Huo Jianqi full of romantic atmosphere,but because of his pursuit to create a mood of great aesthetic effect, so the characters aresomewhat compared with the reality of perfection, but also makes the movie character'spersonality seems thin and one-sided, ideological depth greatly reduced; under the influenceof commercial wave, the creative director Huo Jianqi, while having “film conscious” that is,“the audience awareness” in the film-making closer to the audience tried, However, due to thedirector bones have “elite consciousness” and bias and aesthetic needs of the audience tounderstand, difficult to make the movie with an audience; the influence of socialtransformation of the commercial tide, Huo Jianqi in confusion and perplexity, which also ledto his Film has been between artistic, commercial and ideology wavering with, so after thetransition film he can not de facto pure art films, not commercial films are kitsch, Huo Jianqiin this “not” gradually lost their position , resulting in its failure to work after the transition toachieve the desired ideological and artistic level.

　　The results pointed out that despite the conclusion director Huo Jianqi bloated transitionfor creation, transformation unsatisfactory. However, Huo Jianqi innovative filmmakingconcept, whether it is the performance of the mainstream movie content and narrative strategy,mainstream film characterization or image language mainstream film, have provided a goodreference. This exploration on mainstream film art itself, the art of stitching, the marketawareness of the concept of the three mainstream films produced with real cracks. So, try itfor transformation, it is worth promoting.

　　Key Words: Huo Jianqi; Film; Transformation

    目 录

　　中文摘要……I

　　Abstract……III

　　绪论…… 1

　　第一章 霍建起导演电影的转型研究……5

　　第一节 霍建起导演电影转型脉络……5

　　第二节 霍建起导演电影转型的本体研究……7

　　一 主题意蕴的转型……7

　　二 叙事策略的转型……14

　　三 影像风格的转型……22

　　第二章 霍建起导演电影转型的原因探析……33

　　第一节 客观原因--全球化浪潮下多元文化的冲击……33

　　一 市场经济的影响……33

　　二 社会政治文化思潮的影响……35

　　第二节 主观原因--导演个人创作倾向的转变……39

　　一 独特的性格气质……39

　　二 中国传统审美情趣的影响……40

　　三 注重自我超越的电影观念……40

　　第三章 霍建起导演电影转型的得失评价……43

　　第一节 霍建起导演电影转型的“得”……43

　　第二节 霍建起导演电影转型的“失”……46

　　结 语…… 49

　　参考文献…… 52

　　致 谢…… 56