上海大学学报(社会科学版)

• 影视理论研究 • 上一篇    下一篇

“国产大片”的叙事与意识形态

  

  1. 北京电影学院电影学系
  • 出版日期:2010-01-15 发布日期:2010-01-15
  • 作者简介:作者简介: 陈晓云(1963),男,浙江东阳人。北京电影学院电影学系教授,《北京电影学院学报》副主编。
  • 基金资助:

    基金项目: 北京市哲学社会科学“十一五”规划项目(D098aWYD54);2009年北京市教育委员会社科计划重点项目(SZ20090050020)

The Narrative and Ideology of Domestic Blockbusters

  • Online:2010-01-15 Published:2010-01-15

摘要:

电影作为特殊的文化艺术产品,其意识形态特性是无法规避的,问题只在于如何传达意识形态。当“国产大片”试图以炫目的视觉奇观、超强的明星阵容来刺激观众的视听感官并进而达成意识形态企图的时候,我们可能恰恰忽略了一个问题:影像叙事是传达意识形态最为有效的手段。意识形态的有效传达,更多是借助有效的叙事来完成的。从创作层面来说,忽略对于影片叙事表达的重视,则有可能使电影直接成为意识形态的传声筒,而沦为抽象乏力的说教。从《英雄》到《无极》,再到《满城尽带黄金甲》和《夜宴》,“国产大片”在全知叙事/权威叙事的叙事形式背后,其文化内涵即文本意义上则呈现为“帝王”叙事或者“神性”叙事。《集结号》不但意味着“国产大片”的题材/类型转型,即由古装武侠向现代战争的转型,在叙事的意义上,也体现了导演打破权威叙事的尝试,而代之以平民视角来关注与表达战争中人物个体的命运,并由此拓展了为常规话语所界定的中国战争片模式。在中国电影中,电影叙事常常不是单纯的与影片文本有关的叙事,而是社会文化泛文本在影片文本中的一种投射。以《集结号》为标志的“国产大片”在电影叙事方面的努力,在改变票房与口碑、商业与品质之间的悖谬关系中起到了重要作用。如何在主流意识形态诉求、大众文化心理需求和创作者的影像/叙事表达之间建构起良性的互动关系,已经成为“国产大片”真正走出票房与口碑、商业与品质之间悖谬关系的关键所在。

关键词: 关键词: 国产大片;权威叙事;平民叙事;意识形态

Abstract:

As a special kind of cultural, artistic product, the film can not avoid its ideological characteristics. The question only lies in how to convey ideology. When domestic blockbusters try to, by way of dazzling visual spectacle and superstar lineup, stimulate audience' s audiovisual sensory so as to achieve ideological objects, we may ignore a fact that image narrative is the most effective means of conveying ideology. For the effective conveyance of ideology, more is completed by way of effective narrative. From the level of creation, if the importance of film narrative is ignored, it is possible for the film to become an ideological mouthpiece, thus being reduced to an abstract, didactic tool. Either from "Hero" to "The Promise", or from "Curse of the Golden Flower" to "The Banquet", all these domestic blockbusters, behind the narrative form of omniscient narrative or authoritative narrative, display a cultural connotation of "imperial" narrative or "divine" narrative as far as the text is concerned. "Assembly" not only means the transformation of theme or genre in domestic blockbusters, that is, the transformation from costume swordsmen to modern warfare, but also, in a narrative sense, displays an attempt by directors to break authoritative narrative, instead of concerning, from the perspective of civilians, about the fate of individual characters, thus developing a mode of the Chinese war film defined by conventional discourses. Very often, in China' s films, film narrative is not a simple narrative related to the film text but a reflection of film text on sociocultural Pantext. The domestic blockbuster marked by "Assembly",through the efforts of the film narrative, plays an important role in changing the paradox relation between ticket sale and mouth word, and commerce and quality. It has become the key to actually do so for domestic blockbusters to construct a positive, interactive relation between the demand of mainstream ideology, the need of popular cultural psychology and the expression of creators' image or narrative.

Key words: Key words: domestic blockbuster; authoritative narrative; civilian narrative; ideology

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