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上海大学学报(社会科学版) ›› 2019, Vol. 36 ›› Issue (1): 51-.

• 影视理论研究 • 上一篇    下一篇

中国新主流大片“电影工业美学”的#br# 建构与思辨

  

  1. 山东艺术学院 传媒学院
  • 收稿日期:2018-10-07 出版日期:2019-01-15 发布日期:2019-01-15

Construction and Dialectical Analysis of “Film Industry Aesthetics”#br#  in Chinese New Mainstream Movies

  • Received:2018-10-07 Online:2019-01-15 Published:2019-01-15

摘要：

在“产业化生存”“技术化生存”以及“媒介化或网络化生存”的语境下，中国新主流大片从观念到实践都正在建构一种“电影工业美学”原则。从故事层面、技术工业层面和电影的运作、管理、生产机制三个层面可探究中国新主流大片“电影工业美学”的建构策略及美学表征，并作出思辨性分析，从而探索建构一种具有中国特色的、本土化的中国电影工业美学。电影工业美学的核心思想既有电影产业观念，又尊重电影艺术规律和文化需求；既服从电影工业化生产机制，又在体制内顽强表达自己的诉求，在艺术和商业间寻找某种平衡。

关键词: 制片人, 电影工业美学, 新主流大片

Abstract:

 In the context of “industrialization survival”, “technical survival” and “media or networked survival”, Chinese new mainstream movies are following or constructing a principle of “film industry aesthetics” from concept to practice. This paper explores the construction strategies and aesthetic representations of the “film industrial aesthetics” in Chinese new mainstream movies from three levels: story level, technological industry level and the level of film mechanism of operation, management and production. Based on a dialectical analysis, the paper explores the construction of a localized “Chinese film industry aesthetics” with Chinese characteristics. Its core idea should embody the concept of film industry, respect the cinematic artistic rules and cultural needs, and seek certain compromise or balance between art and business by tenaciously expressing appeals within the system while abiding by the production mechanism of film industry.

Key words: Chinese new mainstream movies, film industry aesthetics, producer