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面对上百年的中国电影发展史,我们可以发现有太多的话题值得探讨,但如果聚焦于上世纪末中国电影由计划经济体制向市场经济体制转型的特定阶段的话,那么商业娱乐片热潮的掀起无疑是最值得探讨的现象。因为就八十年代以前的中国电影来说,商业性娱乐性的重新认识是一种空前的“阵痛”感觉和经验摸索。特别突出的是九十年代两大热点问题,即由1994年《亡命天涯》开始引发的直至如今写入中国电影人世条约的“进口大片”、以及成龙《红番区》登陆之后激发的“国产贺岁电影”热潮,真正改写了中国电影的全新地形图。
In the face of hundreds of years of history of the development of Chinese movies, we can find that there are too many topics worth discussing. However, if we focus on the specific stages of the transition from a planned economic system to a market economy by the end of the last century, the upsurge of commercial entertainment films Undoubtedly the most worthy of discussion. Because of the Chinese movies before the 1980s, the re-understanding of commercial entertainment is an unprecedented “pain” feeling and experience groping. Particularly prominent are the two hot topics of the 1990s, namely the “import blockbusters” that started with the “End of the World” in 1994 and now written into the humanistic treaties of Chinese films and the “Made in China New Year movie ”boom, truly rewritten the new topographic map of Chinese movies.