消费语境下的“新学院派”导演研究

发布时间：2018-05-09 21:06

本文选题：学院派 + 新学院派　；参考：《西南民族大学学报(人文社科版)》2017年10期

【摘要】：与"学院派"产生的语境相似但又有着本质不同,"新学院派"的出现,同样与当前电影环境中不加节制地娱乐化、商业化倾向有关,只是,和"学院派"曾经高举"文艺"的旗帜与"商业"抗衡的初衷不尽相同,"新学院派"并非只是后人的追评,它是基于当前中国电影国际化和产业化的大背景,也是基于一种消费主义社会的文化空间而主动提出的一项电影改良策略。在新机制和新理念的影响下,"新学院派"导演及其作品必然呈现出诸多新的美学风格,同时,由于"新学院派"导演同时兼有"教师"这一多重身份,因而,在这些"新学院派"导演已然成为备受瞩目的中国电影新人才的同时,也必将为中国电影的未来发展提供更多可能。
[Abstract]:The appearance of "New Academy" is also related to the tendency of entertainment and commercialization in the current film environment, which is similar to the context of "academic School", but also has a different essence, but the appearance of "New academic School" is also related to the tendency of entertainment and commercialization in the current film environment. The original intention of the "academicians" who once held high the banner of "literature and art" and "commerce" was not the same. The "new academic school" was not just a review by later generations. It was based on the background of the internationalization and industrialization of Chinese films. It is also a film improvement strategy based on the cultural space of a consumerism society. Under the influence of the new mechanism and the new idea, the directors and their works of the "New Academy School" inevitably present many new aesthetic styles. At the same time, because the "new academicians" directors have the multiple identity of "teachers" at the same time, therefore, While these "new academicians" directors have become the most attractive new talents in Chinese films, they will certainly provide more possibilities for the future development of Chinese films.
【作者单位】：上海大学上海电影学院;
【分类号】：J911

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