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立足产业,以资本为纽带,重建具有东方文化品格的良性电影生态,是当下中国电影孜孜以求的目标。为回应电影生态建设的新诉求,21世纪头十年的中国主流电影,在文本形态、文本与社会现实,以及自身的娱乐性等方面,均做出了有益的探索与建设,特别是近年“介入性电影”的发展尤为突出。它围绕着资本的增值,并在国家话语的强力干预下,通过观众与社会现实的审美联系,逐渐抛开早期“大片”的质感,重塑主流电影的娱乐性,以求形成自己独特的美学风格、文化特质和娱乐品格。为此,以新的知识范式探求主流电影出现的新变化,则是电影学界的当务之急。
Based on the industry, using capital as a link, rebuilding a virtuous film ecosystem with oriental cultural character is the target pursued by current Chinese films. In response to the new demands of the construction of film ecology, the mainstream Chinese films of the first decade of the 21st century have made useful explorations and constructions in terms of textual forms, texts and social realities as well as their entertaining aspects, especially in recent years. The development of “interventional film” is particularly prominent. It revolves around the added value of capital and, under the intense intervention of the national discourse, gradually removes the texture of the early “blockbuster” and remolds the amusement of the mainstream movie in the hope of forming its own uniqueness through the aesthetic connection between the audience and the social reality Aesthetic style, cultural character and entertainment style. For this reason, exploring new changes in the mainstream films with a new knowledge paradigm is a top priority for the film academic community.