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新世纪以来,中国少数民族题材电影艺术成绩斐然,在国际电影屡屡获奖,但商业票房一直不佳。笔者认为少数民族题材电影虽可采取“原生态”叙事,但仍脱离不开电影的商业属性,特别是在新世纪以来国际化、市场化为背景的跨文化传播浪潮之中,商业的成功依旧是检验少数民族题材电影整体生存能力的硬性标准。本文从新世纪以来的少数民族题材电影与“商业大片”无缘、《花腰新娘》中的“民族化”商业元素,以及结合《赛德克·巴莱》的“国际-在地”模式对少数民族题材电影商业生存等进行探讨。
Since the beginning of the new century, the arts and the arts of ethnic minorities in China have achieved phenomenal success. International film has repeatedly won prizes, but the commercial box office has been in poor shape. Although the theme film of the minority nationality can adopt the narrative of “original ecology”, the author believes that it is still inseparable from the commercial properties of the film. Especially in the wave of intercultural communication with internationalization and marketization as the background in the new century, commercial Success is still the test of ethnic minority film the overall viability of the hard standard. This article from the new century, ethnic minority movies and “commercial blockbuster”, “flower waist bride” “nationalization ” commercial elements, and combined with “Sai Deke Bailey” “international - in Ground ”mode to explore the commercial survival of minority theme movies.