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世纪之交充满了蓬勃发展的生机和多种可能的契机,遍布憧憬未来的希望与对既往不尽人意的失望,并弥漫着转型时期特有的喧哗与骚动。在此时刻,中国电影也不可避免地面临着抉择。对于作为一种文化现象的中国电影的走向的探究,不仅涉及到广泛的调查、周详的论证和深刻的学理,而且还受到当代科学技术进步、社会经济发展以及电影自身艺术发展规律的制约和支配。然而就一般文化理论上看,当代电影要想从当下语境中突围而出,必须要有审美文化为其深层意蕴。从一般意义上看,所谓审美文化,就是人类审美观念的具象表现,是人类所特有的文化创造中那些以审美为首要特征或具有审美价值的文化现象。电影作为人类具有特殊审美价值的文化门类,必然要
The turn of the century is full of vitality and many opportunities for flourishing development. It is full of hopes of looking forward to the future and disappointments from the past. It is also filled with the unique noises and commotion during the transitional period. At this moment, Chinese movies also inevitably face a choice. The inquiry into the trend of Chinese film as a cultural phenomenon involves not only extensive investigations, detailed argumentation and profound theories but also the constraints and dominance of contemporary scientific and technological progress, social and economic development, and the laws governing the development of the film itself . However, as far as general cultural theory is concerned, in order to break through contemporary contexts, contemporary films must have aesthetic culture as their deep meaning. In the general sense, the so-called aesthetic culture is the concrete manifestation of human aesthetic concept and the cultural phenomenon characterized by aesthetic or aesthetic value in the unique cultural creation of mankind. As a cultural category with special aesthetic value, the movie is bound to be necessary