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警匪片是20世纪80年代至90年代初最富能量的好莱坞电影类型之一,然而,自2000年以来,警匪片的规模、产量、制作都大不如前,整体上逐渐显现出边缘化、内省化的特点。同时,制作规模缩小,商业诉求减弱,创作上更加注重艺术表达和思想内涵。与八九十年代高度程式化和图解化、具有鲜明共同特征并且形成群落和系列的作品相比,2000年后的警匪片作为一个类型则显得散乱而缺乏凝聚力。本文从类型的杂糅、主题和警匪关系的变迁和分化以及两极叙事时空和结构创新等方面研究警匪片创作风格的变化,以说明对于警匪片这一类型而言,成规的解体也使该类型的格局变得更加自由多元,最重要的不再是坚守原有类型的完整性,而是以自身特有的方式开拓出新的生存空间。
The gangster film was one of the most energetic Hollywood film genres from the 1980s to the early 1990s. However, since 2000, the scale, output and production of the gangster and robber films have fallen far behind. As a result, they have gradually shown marginalization and introspection as a whole specialty. At the same time, the scale of production has been reduced, the commercial appetite has weakened, and more emphasis has been put on artistic expression and ideological connotation. Compared with works that were highly stylized and graphic in the 1980s and 1990s with distinctive characteristics in common and form communities and series, the post-2000 gangster films as a genre appear to be scattered and lack cohesion. This paper studies the change of the style of the gangster film from such aspects as the mix of types, the vicissitudes of the subject and the relationship between the cops and robbers, the time and space of the bipolar narrative, as well as the structural innovation, so as to show that for the type of the gangster film, the formal disintegration also makes this type of pattern Become more free and more diverse, the most important is no longer adhere to the integrity of the original type, but in its own unique way to open up new living space.