香港与内地的古装合拍片研究（1979-2012）

发布时间：2018-03-10 03:12

本文选题：古装合拍片　切入点：香港电影　出处：《南京师范大学》2014年硕士论文　论文类型：学位论文

【摘要】：1979年,中国电影合作制片公司的成立直接促成了香港与内地影人的合作。至今,30多年的合作历程,经历了三个主要阶段：香港电影繁荣时期的主导阶段、香港电影衰退期的低迷阶段和CEPA签署以来的新阶段(可称为后CEPA时代)。无论是在制片数量上还是电影票房与市场份额上,古装合拍片在各个历史阶段都明显占据了重要地位。两地合拍片之所以青睐古装片,首先在于历史资源的丰富与国产电影古装题材创作的历史惯性；其次,从观众接受心理上来看,由于1949年之后两地在制度、经济、文化上的差异化发展,取材于历史的电影创作相对能够同时兼顾香港与内地受众的观影口味；从商业策略来讲,古装电影,尤其是后CEPA时代的古装大片,更符合好莱坞大片影响下的市场需求；最后,两地不同的政治气候、意识形态差异以及电影审查制度对敏感题材的限制都使得远离现实的古装电影更容易通过内地的审查。古装合拍片在产业价值与文化价值上都对华语电影贡献颇多,尤其是“古装大片”,直接促进了国产电影业的复苏与繁荣,但10年来扎堆推出的古装大片已经让观众产生了审美疲劳,同质性题材的过度开发、历史的个人化解读等弊病已然宣告了集群化“古装大片”的时代即将过去,古装合拍片的出路以及两地合拍片的方向在哪里,值得两地影人深思。
[Abstract]:In 1979, the establishment of the Chinese film co-production company directly contributed to the cooperation between Hong Kong and mainland filmmakers. Over 30 years of cooperation, the company has gone through three main stages: the leading stage of the Hong Kong film boom. The downturn in the Hong Kong film recession and the new phase since the signing of CEPA. Whether in terms of the number of films produced or in terms of box office and market share, vintage co-productions have clearly occupied an important place at all stages of history. The reason why the co-productions of the two places favor ancient clothes films lies first in the abundance of historical resources and the historical inertia in the creation of domestic films on ancient costumes; secondly, in terms of the audience's acceptance mentality, because of the institutions and economies of the two places after 1949, The development of cultural differentiation, based on historical film creation, can take into account the audience's taste of both Hong Kong and the mainland at the same time. In terms of business strategy, ancient costume movies, especially those of the post-#en0# era, are of great importance. More in line with Hollywood blockbuster market demand; finally, different political climate, ideological differences and film censorship restrictions on sensitive subjects make it easier for off-the-scenes antiquated films to pass mainland censorship. The co-production of ancient clothes has contributed a lot to the Chinese language films in terms of both industrial and cultural values. In particular, it has contributed directly to the revival and prosperity of the domestic film industry. However, over the past 10 years, the mass production of ancient costume blockbusters has caused the audience to experience aesthetic fatigue. The over-exploitation of homogenous themes and the personal interpretation of history have already declared the passing of the age of "ancient costume blockbusters." The way out and the direction of co-production in ancient clothes are worth pondering.
【学位授予单位】：南京师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

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