摘 要

ABSTRACT 4

前 言 ........................................................................... - 1

研究对象 ................................................................... - 1

研究现状 ................................................................... - 2

1 故土情结：中国人民根深蒂固的思想形态 .......................................... - 3

1.1 故土情结与艺术作品的关系 ................................................ - 3

1.2 贾樟柯和姜文电影作品中产生故土情结的原因 ................................ - 3

1.2.1 贾樟柯导演产生故土情结的原因——以《山河故人》为例 ................ - 3

1.2.2 姜文导演产生故土情结的原因——以《邪不压正》为例 .................. - 5

2 贾樟柯与姜文的故土情结在电影中表现的共同点 .................................... - 6

2.1 使用故乡背景与元素 ...................................................... - 6

2.2 讲述故乡过去与未来 ...................................................... - 8

2.3 故土情结与自我风格相结合 ................................................ - 8

2.4 故土情结融入大量隐喻和象征 .............................................. - 9

2.5 选择自己的夫人来演绎“故乡人” ......................................... - 10

3 贾樟柯与姜文的故土情结在电影中表现的不同点 ................................... - 11

3.1 故乡属性的不同：贾樟柯的小城与姜文的老北京 ............................. - 11

3.2 故乡人物的不同：贾樟柯片中的小人物与姜文片中的大英雄 ................... - 11

3.3 影片表现风格的不同：贾樟柯的写实与姜文的荒诞 ........................... - 12

3.4 讲述故乡方式的不同：贾樟柯的小中见大与姜文的大中见小 ................... - 12

4 结 语 ........................................................................ - 13

参考文献 ...................................................................... - 14

致 谢 ........................................................................ - 15

中文摘要

论文通过深入研究贾樟柯和姜文导演的代表作品，尤其以贾樟柯的《山河故人》和姜文的《邪不压正》为代表，研究两位导演有着深厚故土情结的原因，以及如何在各自的作品中来表现和阐述自己的故土情结，然后加以对比探究，找到导演们的故土情结在电影中表现的共同点和不同点。其故土情结在电影中的表现的共同点主要可分为五个方面：使用故乡背景与故乡元素、讲述故乡过去与未来、故土情结与自我风格相结合以及故土情结中融入大量象征和隐喻。不同点则主要包括故乡属性、故乡人物、影片总体风格和讲述故乡的方式。通过对以上方面的研究来总结出两位导演借助电影来表现自身对故乡眷恋最根本的原因和意义。

关键词：贾樟柯电影；姜文电影；山河故人；邪不压正

ABSTRACT

The thesis analyzes the deep nostalgia complex of the two directors, Jia Zhangke and Jiang Wen, through in-depth study their works in different stages, especially by studying their masterpieces, Jia’s masterpiece Mountains May Depart and Jiang's Hidden Man, to study the reasons why the two directors have deep homeland complexes and how to express and elaborate their own homeland complexes in their respective works.Then compare and explore and find the commonalities and differences between the directors' hometown complexes in the film.The commonality of the performance of the homeland complex in the film can be divided into five aspects: the use of hometown background and hometown elements, the story of the past and future of the hometown, the combination of homeland complex and self-style, and the integration of a large number of symbols and metaphors in the homeland complex.The differences mainly include the attributes of the hometown, the characters of the hometown, the overall style of the film, and the way of telling the hometown. Through the research on the above aspects, it is concluded that the two directors use the film to express their most fundamental reasons and meanings for their love for their hometown.

Key words：Jia Zhangke's movie；Jiang Wen's movie；Mountains may depart；Hidden Man