Journal of Shanghai University (Social Science Edition)
• Articles • Previous Articles Next Articles
Received:
Online:
Published:
Abstract:
"What is a good movie" is the hardest question about motion picture arts. Based on the classification of "three movies" and a set of standards, the present paper discusses the movie history and movie criticism methods of contemporary China. "Popular movies"tend to entertain people, vent feelings, satisfy curiosity and examine morality; "social movies" aim to offer practical enlightenment, maintain social stability and consolidate collective consciousness; "exploratory movies" seek to conduct form experiments, observe life philosophy and reveal social problems. Facing the current Chinese movie pattern, which is composed of the coexistence, differentiation and interinfiltration of multiple movie categories, it is meaningless to make a general quality assessment of the movies. Only when the "consciousness of multiple labor division" is truly awakened, when standards for movie criticism are made clear, and when movies are analyzed with respect for their "focuses and features", can the pointless debate on them be effectively filtered and the vulgar abuse of them be rationally reduced.
Key words: "three movies", popular movies, social movies, exploratory movies
CLC Number:
J902
XUE Feng. "Three Movies" and Movie Criticism Methodology in Contemporary China[J]. Journal of Shanghai University (Social Science Edition).
0 / / Recommend
Add to citation manager EndNote|Reference Manager|ProCite|BibTeX|RefWorks
URL: https://www.jsus.shu.edu.cn/EN/
https://www.jsus.shu.edu.cn/EN/Y2012/V29/I5/45
[1] 贾磊磊. 什么是好电影——从语言形式到文化价值的多元阐释[M]. 北京:中国电影出版社,2009:112. [2] 许子东. 新时期的三种文学[J]. 文学评论,1987,(2):6478. [3] 鲁韧. 创作的过程,学习的过程——影片《李双双》导演札记[N]. 北京日报,19621122(3). [4] 郦苏元. “大跃进”的影像记忆[J]. 当代电影,2009,(12):3741. [5] 石川. “十七年”时期中国电影的体制与观众需求[J]. 电影艺术,2004,(4):4954. [6] 吴迪. “伟大”的转折点:1953年的纠偏与调整[J]. 电影艺术,2006,(3):4346. [7] 吴迪. 审查与监督:十七年中国电影[J]. 电影艺术,2005,(6):122127. [8] 张暖忻,李陀. 谈电影语言的现代化[C]//丁亚平. 百年中国电影理论文选:最新修订版下册. 北京:文化艺术出版社,2003:336. [9] 石川. 三枪对话:所谓“烂到让人胃痛”[EB/OL]. (20091222)[20120305]. http://i.mtime.com/106548/blog/3011107/. [10] 陈墨. 青春的呓语——对张艺谋电影的一种看法[J]. 当代电影,2000,(1):4146. [11] 李陀,西川,崔卫平,欧阳江河,贾樟柯,汪晖. 《三峡好人》:故里、变迁与贾樟柯的现实主义[J]. 读书,2007,(2):331. [12] 薛峰. “跳到另一个位置”:从“第五代”的转型看“第六代”[J]. 浙江传媒学院学报,2011,(6):8388. [13] 朱大可. 十三钗的情色爱国主义[EB/OL]. (20111213)[20120305]. http://blog.sina.com.cn/s/blog_47147e9e0102e25m.html. [14] 张艺谋. 金陵十三钗[EB/OL]. (20111213)[20120306]. http://tieba.baidu.com/p/1335195916. [15] 图宾根木匠. 哗众取宠的情色爱国主义影评[EB/OL]. (20111214)[20120306]. http://i.mtime.com/t193244/blog/7170278/. [16] 许子东. 国家人民有难,性工作者承当?[EB/OL]. (20111219)[20120375]. http://blog.sina.com.cn/s/blog_7adbbab50100w43b.html. [17] 陆姝. 七问《辛亥革命》 张黎:“不要把我放火上烤”[EB/OL]. (20110928)[20120306]. http://ent.sina.com.cn/m/c/20110928/03013429271.shtml. [18] 程季华. 中国电影发展史:第一卷[M]. 北京:中国电影出版社,1980:72. [19] 傅葆石. 双城故事——中国早期电影的文化政治[M]. 北京:北京大学出版社,2008:7283,223. [20] 石川. 草根的狂欢:当下影评失序现象透析[J]. 文艺研究,2010,(6):1925.