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新千年以后,依仗愈加开放便利的媒介环境,新兴的电影奖层出不穷,名目繁多。拿奖拿到手软。这句话应该算是娱乐新闻里的八股文了,经常用来形容某位演员导演制片人强大的实力、人缘、运气或是背景。从张艺谋、陈凯歌的第五代开始,有很长一段时间里,戛纳、柏林、威尼斯是许多国内电影人的“心头好”。李安《卧虎藏龙》之后,“冲奥”立刻成了许多华语电影的愿望或是噱头。十年已过,没有华人再度走上柯达剧院的舞台。而华语电影圈的金像、金马、金鸡、百花等一众老牌电影奖,虽都是业内的权威,但近年来的姿态也大都有些游移不定,恰好映照了当下华语电影尚不稳定的生态。当然,所谓姿态,也就是各家主办机
After the new millennium, relying on a more open and convenient media environment, emerging movie awards endless variety of names. Take the prize to get soft. This sentence should be regarded entertainment news in the essay, often used to describe an actor director of the powerful strength, popularity, luck or background. Starting from the fifth generation of Zhang Yimou and Chen Kaige, Cannes, Berlin and Venice have been the heart of many domestic filmmakers for a long time. After Ang Lee “Crouching Tiger, Hidden Dragon”, the “red” immediately became the wish or gimmick of many Chinese-language movies. Ten years have passed, no Chinese once again took the stage of the Kodak Theater. The Golden Cinema, Golden Rooster, Hundred Flowers and other veteran film awards in the Chinese cinema circle are all authoritative in the industry. However, most of the stances in recent years are somewhat volatile and reflect the ecologically unstable current Chinese cinema. Of course, the so-called attitude, that is, each host machine