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中国大陆“都市一代”电影从诞生起就与有着和之前几代电影人所创作的电影截然不同的私人化在新世纪的十年以来,中国大陆“都市一代”的电影人在商业洪流中进行艰难的探索,大陆的“都市一代”电影开始进入“后地下”时代,以各种新型的方式尝试与商业市场的融合。本文分为三个部分,第一部分简单阐述了中国大陆“都市一代”电影的诞生环境和陪伴它们的“地下”属性。第二个部分讨论了在进入新世纪的十余年里,这些电影创作人在商业洪流中经历从地下到地上的困窘处境和自身做出的努力。第三个部分以2014年在柏林影展上取得奖项同时又在内地商业院线上成功上映的《白日焰火》和《推拿》两部电影的成功的范例来探讨关于中国大陆“都市一代”在“后地下”时代的新的发展思路。
Since the birth of Mainland China, the “City Generation” film has been completely different from that of films created by several generations of filmmakers. In the 10 years since the beginning of the new century, filmmakers from mainland China’s “City Generation” Commercial torrent, the Mainland’s “generation of cities” movies began to enter the era of “post-underground” and attempted to integrate with the commercial market in various new ways. This article is divided into three parts. The first part briefly describes the birth environment of “City Generation” movies in mainland China and the “underground” attributes accompanying them. The second part discusses the film creators who experienced the embarrassing situation from underground to the ground and their own efforts in the commercial torrent in more than ten years of entering the new century. The third part is based on the successful examples of two films, “White Day Fireworks” and “Massage”, which won the awards at the Berlin Film Festival in 2014 and are also successfully released on the Mainland Commercial Court. “In the” underground "era of new development ideas.