香港电影人“北上”之陈可辛导演研究

发布时间：2018-06-17 19:47

本文选题：北上 + 文化策略　；参考：《福建师范大学》2014年硕士论文

【摘要】：香港电影人纷纷“北上”是中国电影市场的需求,同时也是社会文化大融合的具体体现。香港电影人“北上”所采取的合拍片的方式不仅给香港电影市场带来了巨大的生存空间,同时也为内地电影市场开启了新的电影创作模式,丰富了内地电影市场的艺术理念,满足了内地电影观众的文化诉求,进而为香港导演打开了一条新的文化之旅。 2013年,国产中小成本电影主打现实题材的电影创作模式。在这一年里由香港导演陈可辛执导的电影《中国合伙人》备受关注。这是因为该电影是他“北上”之后“陈氏电影的回归”。这所以被认定为“陈氏电影的回归”是因为导演将他“北上”以前的电影拍摄风格展现在该电影当中,与其以往的合拍片相比不再是大投资、大制作的场面,而是走向具有怀旧气息的小清新风格。这部具有早期陈可辛电影特色的励志电影《中国合伙人》成功地唤起了内地观众的情感共鸣。继内地电影市场转向对现实题材创作模式中,又一部引发人们对青春、梦想、成功等话题有所争议的影片。同时,也让我们再次将目光聚焦到该片的导演陈可辛的身上这位票房毒药的香港导演。他在面对北上之路所遇到的诸多艺术创作困难,是如何将内地文化与导演一贯的艺术创作理念结合到电影制作中去的。并且如何掌握电影的“话语权”进而使影片获得较高的艺术性,是值得电影人去思考的问题。
[Abstract]:Hong Kong filmmakers' going northward is the demand of Chinese film market, and it is also the embodiment of social and cultural integration. The co-production method adopted by Hong Kong filmmakers "going northward" has not only brought huge living space to the Hong Kong film market, but also opened up a new film creation model for the mainland film market and enriched the artistic concept of the mainland film market. It satisfies the cultural aspirations of the mainland film audience and opens up a new cultural journey for Hong Kong directors. In 2013, the domestic medium and small cost films focused on the realistic film creation model. During the year, Hong Kong director Chan Ko-sing directed the film, China Partners, which attracted much attention. This is because the film was the return of Chen's films after he went northward. This was considered "the return of Chen's movies" because the director showed his previous film style of "going northward" in the film, and was no longer a big investment, big production scene compared with his previous co-productions. But towards a little fresh style with nostalgia. This inspirational film featuring early Chan Kexin, the Chinese partner, has succeeded in evoking emotional resonance among mainland audiences. After the mainland film market turns to the realistic theme creation mode, another film that causes people to have the dispute to the youth, the dream, the success topic and so on. At the same time, let's focus once again on the film's director, Chan Kexin, the Hong Kong director of box office poison. In the face of many difficulties in artistic creation he encountered on his way northward, how did he combine the mainland culture with the director's consistent artistic creation concept into the production of films. And how to master the "right of speech" and make the film more artistic is a problem worthy to be considered by filmmakers.
【学位授予单位】：福建师范大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

【参考文献】