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模仿电影,尤其是以幽默、诙谐、讽刺手法对原作加以批评、调侃的作品本来不是什么新生事物;尤其当家庭录像机流行以后,或取材单一作品,或取材多部作品,以重编、混编的形式制作模仿作品,也随之在既是观众又是业余录像编辑者中与日俱增。近年,由于电脑视频编辑程式广为普及,以数字影音素材为蓝本的作品更为普遍。另一类同样来自民间,却是利用磁带、数字媒体廉价普及之便,另组演员模仿制作拍摄的作品不同,混编“恶搞”作品从一出现就要面对“盗用他人受版权保护影像资源”的法律挑战。本文着眼这些作品所带来的独特文化内涵,其本身就是网络文化对于西式商业法规和经营手段带来的挑战。然而,更深层文化的意义,往往是这些作品对于原本是国际大片的本土化诠释,这些在中国电影国际化产品上冒起的“副产品”往往是一种比原作更具有民族电影本质的影视作品。
Imitation of the film, especially the humorous, witty and satirical way of criticizing the original work, is not a new thing to laugh at; especially when a home video recorder is popular, or a single piece of work is taken or a number of pieces are drawn for reprogramming and compilation The imitation of the production of the form, but also in the audience is also an amateur video editor in increasing. In recent years, due to the popularity of computer video editing programs, works based on digital audio and video material are more prevalent. The other is also from the private sector, but the use of tapes, digital media cheap popularization of the other groups of imitating the production of the production of different works, mixed “spoof ” from the emergence of the work will have to face “theft of copyright by others Protect Image Resources ”Legal Challenges. This article focuses on the unique cultural connotation brought by these works, which itself is the challenge brought by the network culture to the western commercial laws and regulations and management methods. However, the meaning of a deeper culture is often the local interpretation of these works for international films. These “by-products” emerging from the internationalization of Chinese films tend to be more of the essence of national films than the original ones Film and television works.