论文部分内容阅读
在许多电影人看来,2005年的中国电影业至少在世界影坛小刮了一场“中国式旋风”——从2月到10月,数部电影荣获国际大奖。顾长卫执导的影片《孔雀》获得第55届柏林电影节银熊奖评委会大奖,这是顾长卫在担任张艺谋的摄影师并使所摄影的《红高粱》获得金熊奖之后的再次殊荣;王小帅的《青红》摘得第58届戛纳电影节评委会奖,李玉的《红颜》获欧洲艺术奖,马俪文执导、84岁的金雅琴主演的《我们俩》获最佳女演员奖……中国的电影行业在经过了一段时间的沉寂和冷清之后,终于向世界发出了再次繁荣的信号。然而,喜悦的余温毕竟无法遮盖“看上去很美”的中国电影业。2005年10月中旬,在青岛举行的亚洲电影合作国际论坛上,北京电影学院导演系教授郑洞天指出:“绝大多数的国产片入不敷出,不仅不能跟欧美相比,连近邻韩国也远远不如。而且,现在内地国产片、合拍片、好莱坞大片三种片种的单片平均票房比例为1:3:10,这从一个方面说明,国产电影在满足大众娱乐需求上还远远不能适应市场。”
For many filmmakers, the 2005 film industry in China at least had a “Chinese-style whirlwind” in world cinema - from February to October, several films won international awards. Gu Pei Wei’s film “Peacock” won the 55th Berlin Film Festival Silver Bear Jury Award, which is Gu Changwei Zhang Yimou’s photographer and photographer “Red Sorghum” after winning the Gold Bear Award again; Wang Xiaoshuai’s “Green Red” won the 58th Cannes Film Festival Jury Prize, Li Hong’s “Hongyan” won the European Art Award, led by Ma Liwen, 84-year-old Kim Ya-Qin starring “We” won the best actress award ... ... China After a period of silence and desertion, the movie industry finally sent another signal of renewed prosperity to the world. However, after all, joy can not cover the “looks beautiful ” of the Chinese film industry. In mid-October 2005, at the International Forum of Asian Film Cooperation held in Qingdao, Zheng Dongtian, a professor at the director of the Beijing Film Academy, pointed out: “Most domestic films are not enough to make ends meet. Better yet, and now the mainland-made films, co-production films, Hollywood blockbuster three kinds of single-chip average box ratio of 1: 3: 10, which shows from one aspect, the domestic movie to meet the needs of public entertainment is far unable to adapt market.”