中国电影的网众自娱时代——当前中国电影新力量观察

发布时间：2018-06-27 05:04

本文选题：网众自娱 + 中国电影新力量的美学维度　；参考：《当代电影》2015年11期

【摘要】：中国电影新力量是进入21世纪第二个十年以来,成为中国大陆电影业主导势力的那些新兴元素,涉及编剧、导演、演员、投资、营销、影像及观众等几乎各方面,对它的美学考察需要历时态与共时态相结合的综合视野。中国电影在历时态上先后经历模块位移、类型互渗和网众自娱三个时段,其支配力先后来自社会革命、全球文化工业转型和国际互联网及其相关社会关系。当前不再是专业影评家引导普通观众的时代,而是网民大众摆脱专家引导后自主娱乐的时代,即网众自娱时代。中国电影新力量呈现出以网众自娱为中心的共时态多层面构造,即影宣层的网舆引导、影销层的社交新媒体营销、影资层的网众筹资、影创层的新锐弄潮和网作热销、影众层的网众自娱、影像层的轻平喜剧性。认识以网众自娱为核心的中国电影新力量及其美学维度,需看到影院大众、影院小众和非影院观众这三类公众群体并存的现实性。影院大众看来已自主享受自由与民主权利,但其深层仍受到基于互联网的全球时尚风及其后更难测的国内国际社会关系网络之力量的无意识牵引。需认识网众自娱时代的分众各赏现象,探索电影分赏现实中的电影公赏力,《滚蛋吧!肿瘤君》可成为跨群分合的范例。
[Abstract]:Since entering the second decade of the 21st century, the new power of Chinese film has become a new element of the leading force in the film industry in mainland China, involving writers, directors, actors, investment, marketing, video and audience, and so on. Its aesthetic investigation needs a comprehensive view of the combination of the calendar tense and the co-tense. Chinese films have experienced three periods in the historical tense: module displacement, infiltration of types and self-entertainment. Their dominating power comes from the social revolution, the transformation of the global cultural industry and the Internet and its related social relations. At present, it is no longer the time for professional critics to guide the ordinary audience, but for the netizens to get rid of the era of independent entertainment after the expert guidance, that is, the era of self-entertainment. The new power of Chinese film presents a multi-level structure centered on network entertainment, that is, the network and guidance of the shadow and publicity layer, the marketing of the new social media in the film marketing layer, the financing of the network in the film and capital layer, the new sharp trend of the film creation layer and the hot selling of the net. The net of the shadow multilayer amuses oneself, the light plane comedy of the image layer. To understand the new power and aesthetic dimension of Chinese film with the core of online entertainment, it is necessary to see the reality of the coexistence of three types of public groups, namely, the cinema public, the cinema minority audience and the non-cinema audience. Theater masses seem to have enjoyed their own freedoms and democratic rights, but they are still unconsciously driven by the Internet-based global fashion and the subsequent, more unpredictable forces of domestic and international social networks. Need to understand the network of entertainment times of the focus of the phenomenon, explore the reality of film appreciation of the public appreciation of the power, "Fuck off"! Cancer can be an example of cross-group segregation.
【作者单位】：北京大学艺术学院/北京大学美学与美育研究中心;
【分类号】：J905

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