中国电影美学新样态及其挑战

发布时间：2018-02-24 22:04

本文关键词： 中国电影美学新样态新旧接力加速艺术分赏美学的自反性现代性　出处：《当代电影》2014年12期 　论文类型：期刊论文

【摘要】：进入21世纪第二个十年的中国电影呈现出电影美学多样态与新旧接力加速两大特征。前者体现为中式大片浪潮、温情喜剧、奇观化悲剧、冷幽默、网媒电影、轻喜剧、粉丝电影、内地和香港雅俗杂糅片、美式爱情片、广告型电影等。后者具体在于电影演员或明星的新老更替频率加快和电影导演的年龄或代际更替加快。这两大特征对现有电影美学及评论体系构成挑战:一是由艺术群赏和艺术独赏方式变为多种不同社群之间的艺术分赏格局;二是温情喜剧与浓情悲剧有被轻喜剧横扫之势;三是互联网营销及网上影评方式的崛起让传统媒体广告营销方式及报刊影评方式成为明日黄花;四是位于电影美学背后的更基本的普通美学观念被投入新旧冲突场域中。上述挑战与应战之交接集中指向对当今美学的自反性现代性品格的深入反思。中华美学精神可能会在电影美学深层制约电影创新指向。电影理论及评论需冷静反思自身的基本话语系统。
[Abstract]:In 21th century, the Chinese films in the second decade showed the characteristics of film aesthetics diversity and the acceleration of the old and the new relay. The former reflected in the wave of Chinese blockbuster, tender comedy, spectacle tragedy, cold humor, network film, light comedy. Fan movies, mainland and Hong Kong vulgar hybrids, American romance films, The latter lies in the acceleration of the replacement frequency of movie actors and stars and the acceleration of the age or intergenerational turnover of film directors. These two characteristics challenge the existing film aesthetics and commentary system. The art group appreciation and the art individual appreciation way become the art division pattern between many different communities; Second, warm comedy and thick tragedy have the tendency of being swept away by light comedy; third, the rise of Internet marketing and online film review makes traditional media advertising marketing and newspaper film review become a thing of the past; The fourth is that the more basic general aesthetic concept behind film aesthetics is put into the conflict field between the new and the old. The connection between the challenge and the battle points to a deep reflection on the reflexive modernity character of today's aesthetics. The spirit may restrict the direction of film innovation deeply in the film aesthetics, and the film theory and comment should reflect on their basic discourse system calmly.
【作者单位】：北京大学艺术学院;
【分类号】：J901

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