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上世纪末,电影与戏剧亲疏关系的辩解,第一次通过理论混战被郑重地呈示到现实的公堂。电影的戏剧化创作一时成为攻击的众矢之的,而非戏剧化的倾向也引发了诸多的疑虑和争议。中国电影的创作到底出现了什么问题,其症结何在?其美学原则在戏剧化与非戏剧化之间该如何选择?本文通过剖析非戏剧化争论的历史实质,深入探讨中国电影对戏剧化和非戏剧化选择的历史性与时代性特征,并在历史和现实的纵横呈示中,揭示中国电影戏剧化的发展历程和非戏剧化的时代表征。
At the end of the last century, the justification for the relationship between film and drama was solemnly presented to the reality court through theoretical melee. The dramatic creation of the movie became the target of attack, and the non-dramatic tendency triggered many doubts and controversies. What is the crux of the problem, what is the crux of the problem, and how should its aesthetic principles be chosen between the dramatic and the non-dramatic? By analyzing the historical essence of the non-dramatic controversy, this article explores the Chinese film’s dramatic and non-dramatic The historicity and the characteristics of the times in the dramatic selection, and in the vertical and horizontal presentation of history and reality, reveals the dramatic process of the development of Chinese movies and the non-dramatic symbolism of the times.