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美国好莱坞主流电影发展论文-以伊斯兰人形象为例

论文作者:www.51lunwen.org论文属性:硕士毕业论文 dissertation登出时间:2014-07-16编辑:felicia点击率:3588

论文字数:10216论文编号:org201407161341286555语种:英语论文 English地区:中国价格:免费论文

关键词:好莱坞主流电影伊斯兰男人Hollywood cinemamainstream Hollywood cinemaIslamicArabic

摘要:这是一篇美国留学论文。随着经济水平的不断提高,人类的精神文化要求越来越高,在好莱坞主流电影中,刻板的伊斯兰人和阿拉伯人形象已经不能适应电影的发展要求。本文以伊斯兰人形象为例,试图打破不同文化之间的差异性和限制性,以促进文化交流和好莱坞电影文化的发展。

这个研究的目的是为了分析好莱坞主流电影中伊斯兰男人和阿拉伯男人的形象,试图通过这种评估形式打破不同文化的之间的误解和限制,最大限度地将穆斯林融入西方社会。


这是一个有重大意义和有意义的话题,不仅仅因为伊斯兰教在当代世界事务中的时代意义。对当代世界而言,电影的作用和意义是一个非常重要的时代话题。


随着21世纪西方社会主导文化主题的变化,精英文化的表达观点认为电影如同历史的车轮,推动历史的发展。过去的经验表明,好莱坞电影所塑造的形象拥有持久的影响力,将现实融入小说,赋予其全新的生命。


研究结果将突出表明电影将如何反映政治发展态势,到目前为止,为了对电影制作进行一个更为详尽的定义,就需要一个外部的敌人对好莱坞电影制作进行一定程度的导向作用。2001年9月11日,不仅是电影制作行业,而且是政治界的一个分水岭,好莱坞以新的魔鬼的化身取代了气数将尽的俄罗斯人和日本人的刻板印象,好莱坞电影制作介于对观众的恐惧,迄今为止,仍然依赖于现实主义者。


The aim of the following study is to examine the stereotypes projected by mainstream Hollywood cinema with regards to Islamic and Arabic men in order to evaluate the ways in which this perpetuates a misunderstanding of different cultures and curtails attempts to incorporate Muslims into Western society.


It is a particularly relevant and significant topic and not only because of the contemporary significance of Islam in world affairs. The role of film is a highly significant contemporary topic in its own right.


As the dominant cultural theme of twenty first century Western society, cinema represents the vehicle through which the views of the cultural elite are expressed and past experience dictates that the images projected by Hollywood have a lasting effect, constituting fiction interpreted as fact.


The findings within the study will highlight how film broadly mirrors Politics in so far as it requires an external enemy in order to define itself. September 11, 2001 was therefore a watershed in movie making every bit as much as in politics, as Hollywood was presented with a new incarnation of evil to replace the worn out stereotypes of Russians and Japanese that the industry had hitherto relied upon to strike realist fears into the audience.


Introduction

Film is a unique form of modern art, unlike any of its conceptual cousins. A painter, musician or novelist has free reign with regards to composition, which is a liberty not available to mainstream Hollywood film makers. Certainly, the independent movie, which has spawned one of the films featured within the following study, Michael Moore’s Fahrenheit 9/11, is an avenue open to individuality, but this is a separate sphere from Hollywood.


Funding, production and backing of the Hollywood movie industry comes from corporate finance and from the vetting of scripts that constitutes a process unlike any other creative commerce. In this way, Hollywood movie making remains within the control of the most conservative elements of the ruling elite in a way that other forms of artistic expression are not. It is a fundamental truth that is central to understanding to the remainder of the dissertation, as independent film maker Gus Van Sent (1994:214)testifies.


“The point of any film, big or small, is to make a good one, and then let the scope and subject dictate the expansiveness of the audience. But a lot of the decision making depends on what a person has done before. Opinions about art are so subjective that the only objective orientation becomes your past product.”


Furthermore, the producers of films work in the knowledge that their output wil论文英语论文网提供整理,提供论文代写英语论文代写代写论文代写英语论文代写留学生论文代写英文论文留学生论文代写相关核心关键词搜索。

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