摘 要

“盤點”新世紀以來大陸青春校園電影，電影創作者跨越了特殊時期意識形態思想傾向的約束，以傳播中華文明五千年歷史文化的沉淀為己任，傳承延伸大陸電影藝術精華為責任，將鏡頭對準當下“流行文化”與“娛樂元素”,以“不同與往時的青春回憶”為主線、“隱含觀眾”,通過拍攝把當下青春校園學子生存狀態及彷徨與夢想滲透在作品中；塑造的人物主要針對中學、大學青春校園群體，較真實地展現了大陸各個時期青春校園文化的特征，縮短了觀眾與電影的距離。

敘事母題以成長主題、勵志主題、友情主題、親情主題、懷舊主題、愛情主題等形式展開，雖然大陸青春校園電影沒有明確的類型劃分，但是每部電影仍然以不同時期的青春校園、以不同方式延續著大陸古老的文明與文化，而且在不斷豐富、不斷成熟、不斷完善。影片模式化結構得以推進，人物形象凸顯真實、生活化；服裝設計接近影片塑造的人物氣質、環境、時代；場景力圖觀影者熟悉；而且在語言方面融入了地方方言對白，更能體現影片真實性與藝術性，基本反映出電影層面上意義深刻的內涵。視聽藝術輕松、自然、樸實，以光影的變化與顏色的對比等技巧對畫面進行樸實處理，給觀眾帶來了不一樣的心理效應，而且畫內畫外音樂定位比較到位。在創作藝術技巧上突破了原來大陸電影、去刻意追求塑造絢麗的畫面，盲目地去營造視聽上的沖擊，部分電影開始逐步向浪漫、娛樂性靠攏；在傳統理念情感上穿越了模式、導演、演員等條條框框的束縛，部分導演把這個時期青少年所不同與往時的青春回憶展現在大眾面前，有苦澀的味道、也摻雜著一些對青春的無奈，放置于特殊環境，使大陸青春校園電影走上了追求樸實、無華、真實地傳播中華文明與文化發展之路，觀眾隨著電影能尋找到自己過去的身影，喚起對青春校園生活的眷戀，回味校園電影帶來的享受。

新世紀以來大陸青春校園電影“新勢力”的崛起，說明觀眾開始追求精神層次意義電影的深刻內涵；而且觀眾解讀電影敘事系統急速改變，也意味著中國電影的“換代”趨勢的出現；并且大陸青春校園電影的創作層面已經不是“形式”和“成規”,而是意義表達的層面，即影片的意義指向以及意義呈現效果（效率）的層面；此時，電影以中小成本投入在大陸電影市場票房一路飄升，“青春校園電影”作為此前并未受到重視的一種類型電影，正在開啟屬于它的時代。

【關鍵詞】青春校園 敘事系統 隱含觀眾 視聽藝術 娛樂文化

Abstract

Reviewing of the mainland youth campus films in the newcentury, film producers got rid of the constraint of theideological tendency in particular historical period to regardboth the spreading of the quintessence of the Chinese 5000years civilization and the Inheritance and extension of theessence of film art as their responsibility. They focused oncontemporary “pop culture” and “entertainment elements” andestablished the main line of “the memory of youth” that isdifferent from the past.“ implied audience”, By shooting thecontemporary youth campus stories, students state of life,hesitation and dream were sufficiently emerged in the works.

Characters mainly aimed at the middle school, universitycampus youth groups, which truly showed the characteristics ofyouth campus culture in each period to connect the audiencewith the film closely. Narrative melodies were unfolded togrowth theme,inspirational theme, theme of friendship,kinship,love and nostalgia. Although the mainland youth campusfilms are not clearly divided into types, each film is stillcontinuing with ancient civilization in various stages of youthcampus in different ways,and also constantly enriching,improving and growing to mature. Film mode structures arepromoted gradually and the character images are presented tothe reality and life. Costume design is consistent with thecharacter temperament, environment and age, and scene issought for the familiarity to the audience, and the local dialectsare added in the aspect of the language, which demonstratesmore authenticity and artistry of the film and basically reflectsthe profound connotation in film levels. Audio-visual arts arerelaxing, natural and simple, giving the audiences variouspsychological effects by the simple application of skills such asthe change of light and the color contrast, and music orientationis relatively suitable as well. In the creation of artistic skills, theprevious mainland films styles in which the gorgeous screenswere sought deliberately and audio-visual impact was blindlycreated were broken through, partly coming close to romanceand entertainment. In addition, the traditional emotion conceptwere not only the director and the actor, new youth memories ofthe teenagers in this period, which was mixed with bitter tasteand the youth helpless, were displayed in public by somedirectors. In the special environment, the mainland campusyouth films embarked on the pursuit of simplicity and reality ofcampus life in order to promte the development of the Chinesecivilization and culture, meanwhile, the audiences can find theirown past figures, arouse the deep attainment to youth campuslife and fully enjoy the films.

It is implyed that the audience began to pursue the profoundmeaning of the film in the spiritual level by the rise of youthcampus films “new power” in the new century. The audiencenarrative system of the film interpretation rapidly changed,which means that the Chinese movie “updating” trends appeared.

The mainland campus youth films in the creation level payedmore attention to the significant expression of the meaning,neither the “form” nor the “rule”. Meanwhile, the box office offilms with small investment in the mainland market is increasingall the way so that “youth campus film” not noticed seriouslybefore is opening its age.

【Key Words】campus youth the narrative system the implied audienceaudio-visual art entertainment culture

目 錄

緒論

1 新世紀以來大陸青春校園電影的研究和思考

1.1 大陸青春校園電影定義的詮釋

1.2 新世紀以來大陸青春校園電影研究現狀

1.2.1 大陸青春校園電影單個電影研究概況

1.2.2 大陸青春校園電影整體研究現狀

1.3 研究大陸青春校園電影的價值和意義

2 當代大陸青春校園電影的發展歷程

2.1 當代青春電影溯源

2.2 十七年青春電影

2.2.1 政策與環境

2.2.2 各個階段的藝術特點和電影

2.2.3 值得借鑒的藝術特征

2.2.4“十七年”電影的缺陷

2.3 文革十年青春電影

2.3.1 政策與環境

2.3.2 重要的特點及電影

2.3.3 創作與鑒賞

2.4 新時期以來青春電影

2.4.1 政策與環境

2.4.2 創作與創新

2.4.3 青春校園電影

3 新世紀以來大陸青春校園電影敘事系統

3.1 敘事主題分析

3.1.1 成長主題

3.1.2 勵志主題

3.1.3 友情主題

3.1.4 親情主題

3.1.5 懷舊主題

3.1.6 愛情主題

3.1.7 本章結語

3.2 模式化結構

3.2.1 環境的改變

3.2.2 對立關系的加入

3.2.3 情感的注入

3.3 人物形象

3.3.1 逆境中尋找自我的男主人公

3.3.2 善良美好追求愛情的女主人公

3.3.3 各種性格差異的老師形象

3.3.4 不可忽視的配角

3.4 個性化人物對白

3.4.1 語言對白

3.4.2 隱喻對白

3.4.3 方言對白

4 新世紀以來大陸青春校園電影視聽藝術

4.1 鏡頭的運用的特點

4.2 畫面間的樸實處理

4.3 非因素的點綴

4.4 音樂元素的定位

5 新世紀以來大陸青春校園電影的文化與市場策略

5.1 娛樂元素與流行文化

5.2 寓教于樂與輻射全球

結語

致謝

參考文獻