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电影类论文写作范例,电影类论文写作分析格式及要求
发布时间：2017-03-06
留学生在写电影类论文或多或少有些写作思路。只是电影类论文写作对细节分析，人物整体描述要求较高，导致许多留学生写作无从下笔。以下就是电影类论文写作范例,电影类论文写作分析格式及要求，希望对大家有所帮助。
运用historicism （历史相对主义）或者nationalism （国家民族主义）两个概念的其一，来分析一部中国武术电影，4页左右，double-space，MLA。
这篇电影写作分析将会用到nationalism，所分析的武术影片是由大名鼎鼎的已故武术演员李小龙主演的《精武门》。
写这篇电影分析的首先，就是要弄懂什么是国家民族主义。Wikipedia上对于nationalism的解释定义为：Nationalism is a shared group feeling in the significance of a geographical and sometimes demographic region seeking independence for its culture and/or ethnicity that holds that group together. 民族主义指代的是某个地区的人对于自身所在地区的一种认同感，或者有时候指的是寻求对于自身地区的文化或者种族划分的独立，而正是这种特性会让人们团结联系起来。
根据Collins English Dictionary里对于nationalism的定义是：loyalty or devotion to one’s country，a sentiment based on common cultural characteristics that binds a population and often produces a policy of national independence or separatism。
在<Teo-Wuxia Introduction>里，“The wuxia film was and is regarded as a national form, fulfilling nationalist desires for self-strengthening at a time when China was weak.”
总结以上的这些，我们可以得出自己对于民族主义的理解：首先这是人对于自己国家的一种忠诚和认同感，甚至是可以为自己国家而牺牲；其次，民族主义会让人随着自己国家的兴或者亡而产生相应的情绪起伏甚至举动，有时候可以是觉得自豪荣耀，有时候可能是会觉得愤懑难过。而如果特定地放在功夫电影里，这种民族主义更多的会和民族兴亡，国恨家仇联系在一起。
《精武门》（Fist of Fury）1972年在香港首映，距今已经44年，由已故的著名武打演员李小龙主演。在武打电影界，李小龙一直是个传奇人物，他所塑造的电影人物入木三分，即使他去世多年，他在武打电影界的影响依旧存在。《精武门》讲述的故事发生在清末民初，正是中国政府迂腐落后的时期，霍元甲突然病逝，李小龙饰演的是霍元甲的弟子陈真，陈真赶赴上海拜祭师傅，后来却查明霍元甲的去世并不是因为病，而是被日本设计暗害，日本人更是在“精武门”上大肆侮辱中国人，居然送上“东亚病夫”的牌匾，租界公园门口还摆放上“华人与狗不得入内的”牌子，陈真被激怒后誓要为师傅报仇，一洗中国人所受的耻辱，因此与日本人展开武术的对抗，最终却牺牲于乱枪之下。
电影中镜头“陈真一举起脚踢碎‘华人与狗不得入内’的牌子”和打败日本浪人后强迫其吃下“东亚病夫”牌匾，相信直至今日，很多国人看了都会觉得大快人心。40多年的武术电影，虽然故事情节简单，但是其中所体现的民族主义却跃然于电影屏幕上。
首先电影的时间设定为清末民初，正是中国政府堕落之时，中国政府中国人给世界的印象是“弱”，让人看不起，因此受尽欺凌而无力反抗。而后电影主角陈真的人物设定，是带有英雄光环的，他正气、勇敢、不畏强暴、不屈不挠，为当时的中国人树立了极其高大的想象，告诉国人并不是“东亚病夫”。正正是这种巨大的反差 – 国家弱，英雄强，会激起国人对于自己国家的忠诚感和认同感，认为我们国家并不是那样的弱，我们同样可以奋起抗争，同样可以为了保卫国家而作出努力，为国牺牲是极其光荣的。这样看来，《精武门》这部电影里蕴含的民族主义色彩就极其强烈了。
其次，这部电影里面，陈真用以打败日本人的，正是本国的武术功夫，更加让国人对于国家的武术遗产产生自豪感，对本民族的认同感更加强烈。
此篇电影分析的结构，首先会对《精武门》这部电影进行情节的介绍，接着便会如上文一般运用民族主义对于整部电影里不同镜头所体现的意思进行分析。另外，亦会透过电影中体现的传统武德，比如说“人不犯我我不犯人，人若犯我我必犯人”等来运用民族主义来进行分析。
How Nationalism Embodied in Film <Fist of Fury>
Martial art film is one of the movie types that have Chinese characteristics. Why Chinese Kong-fu is so well known? An important reason is because of the widespread Chinese martial art film. Chinese martial art film has its significant features: the presentation of Chinese Kong-fu, the plot about revenge, the specific morality in martial and etc. The Chinese martial art film not provides fantastic visual effects to the audience, but also conveys special meanings, nationalism is one the important concepts that being delivered in martial art movies. In the next following paragraphs, we will use the concept “nationalism” to analyze one of the most famous martial art films in China: <Fist of Fury>, seeing how nationalism is being expressed in this movie.
First of all, we know get a clear understanding about what is “nationalism”. According to the <Collins English Dictionary>, the definition of nationalism is “a sentiment based on common cultural characteristics that binds a population and often produces a policy of national independence or separatism”, “loyalty or devotion to one’s country” and “patriotism”. If we understand it literally, nationalism refers the sense of belonging about one’s country, the willingness to be devoted to one’s country, sometimes it equals to patriotism.
There is a book named <Chinese martial art cinema> (Stephen Teo, 2009), in the introduction chapter, the author introduces different concepts such as historicism, nationalism, transnationalism and etc. to Chinese martial art movies, it says “The wuxia film was and is regarded as a national form, fulfilling nationalist desires for self-strengthening at a time when China was weak.” This saying indicates more specifically about nationalism in martial art films, and we could draw one of the important features of nationalism: the contrast. When the country is weak relatively, nationalism may be aroused highly.
In 1972, the film <Fist of Fury> was on screen in Hongkong. As soon as it was being presented in the cinema, it caused a huge sensation. The superb Chinese martial art artist Bruce Lee was acting the leading role, which made the film attracted much attention.
The story in <Fist of Fury> happened in the late Qing Dynasty and the early Republic of China. Huo Yuanjia, who was a famous patriotic martial artist, passed away suddenly. His disciple, Chen Zhen (played by Bruce Lee) rushed to Shanghai for worshiping his master. When Chen was staying in Shanghai, he accidently knew that his master was not died for illness, but was assassinated by Japanese. Chen felt so furious that he pledged to investigate the truth of the death of his master, and avenged for his master.
In the film, the master of Hongkou Dojo Suzuki assigned a traitor to China and Japanese ronin to Chinwoo Association (one of the martials in China), and they were being provocative. Or even gave a board with the words “Sick man of East Asia”(an indignity about Chinese) to Chen, Chen was feeling angry but he remembered what his master has said when he was at extremis, “do not stir up troubles”, he did not revolt. Afterwards Chen was defeating the Japanese; he has investigated the truth about his master’s death, he found that the traitor and the Japanese spies in the Chinwoo Association assassinated his master, so he started his revenge plan, for his master.
At the end of the film, Chen has killed the people who were involved to assassinate his master, in order to protect the Chinwoo Association, he undertook the charges of murdering, and died under the gunfire.
Make a general look about the film: the movie was produced 44 years ago, with smooth and simple storyline, and the eye-catching fist fighting frames. And now we will see how nationalism is presented in this martial art movie.
There are unforgettable scenes like the first one is after defeating the Japanese, Chen has forced the Japanese to eat the board with the writings “Sick man of East Asia”; the other one is in the film, at the entrance of concession park, there is a sign with writing “Chinese and Dogs could not be allowed to go in”, Chen was extremely angry when he saw that, so he kicked the sign with fragments.
If we view these two scenes with the perspective of nationalism, it could be said that both of the scenes are conveying the sense of nationalism. As we talked above, the story happened in the late Qing Dynasty and the early Republic of China, and it was very corrupted and laying back behind other countries in the world. China at that time was weak, hopeless and “being inferior to other countries”, Chinese’ national dignity and confidence were almost reaching the lowest point, but suddenly, a “hero” comes out, he was Chen Zhen. He was muscular, brave, preserving, and dared to defy brutal suppression. He could defeat Japanese “karater”, Japanese “judoer” and the “hercule in Russia” by himself. The three people were doing something evil, and Chen beat them to death, pulled the knockdown national confidence up to a “boiling point”, it could be said that he was a “national hero”.
He indicates that Chinese is not “sick man of East Asia”. Chen was willing to devote himself to the country and expressing loyalty to this country, which was a symbolization of “nationalism”.
At the same time, Chinse-style Kong-fu was well presented in the film, which also shown that Chinese could defeat the foreign powers by using the “Chinese-style weapon”. The protagonist Chen, with his extraordinary martial skills, was a symbolization of Chinese power. And that is what makes nationalism outstanding in this film.
Also, in the film, the traditional morality about martial was shown on screen. The master, Huo Yuanjia told Chen Zhen at his extremis that “not to stir up troubles” and “be tolerant”, the under meaning in Chinese is an old saying, “人不犯我我不犯人，人若犯我我必犯人”, if concluded in English, that is “Tit for tat is fair play”. This saying has significant Chinese style, almost every Chinese had heard about that, it indicates Chinese is always patient and tolerant, but once if provocative by someone with malice, Chinese will not “be nice anymore”. In this film, facing the provocation by Japanese at the first time, Chen chose to be silent, but after that, Chen shown his power to the bad guys. Nationalism here refers to the connotation insides Chinese – most of Chinese are educated that not to cause troubles, but if others commit something ignominious, Chinese would certainly beat back. And this is also a symbolism of nationalism in this film.
Overall, the huge contrast between China at that time and the brave protagonist Chen made the film dramatic and attractive. Raising national confidence and indignity are the theme of this film. It could be said that nationalism is throughout the whole film, and that made the film worth watching and tasting.
Reference
Collins English Dictionary
http://www.collinsdictionary.com/dictionary/english/nationalism
2）Stephen Teo, <Chinese Martial Arts Cinema>, Edinburg University Press, 2009.
Stable URL: http://www.jstor.org/stable/10.3366/j.ctt1r2c7r.4
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