试论中国元素在世界电影中的呈现
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摘要
20世纪90年代以来,中国电影市场伴随着改革开放的进程向世界敞开了大门。随着当今世界全球化脚步的加快与中国国际地位的提高,世界电影中越来越多的开始使用中国元素来提高影片的观赏性与市场占有率。一时间世界银幕上中国风四起,掀起了一股不小的中国热潮。虽然此种现象是中国在世界范围内影响扩大的表现,但我们在欣慰的同时,应当也清醒的认识到,这些影片中对中国元素的运用并不全部都是正确的、恰当的,在各种原因的影响下,中国元素在世界银幕中出现了不同程度的被误读。在此种背景之下,本文提出了探讨中国元素在世界电影中所呈现的状态这一问题。通过研究我们发现,世界电影中所涉及的中国元素存在着文化符号被滥用、人物角色类型单一、地位不当、形象负面等一系列局限,造成了国家形象与银幕形象的不一致,让我们看到在长期的隔膜与偏见中世界电影对中国形成的刻板印象并非轻易能够改变。可以说,国外电影虽然热衷于在他们的影片中加入中国元素,但是,他们这样做的目的也仅仅是在影片中加入异域风情以提高商业价值,并未能真正传达出中国文化的内涵,本质上依然是表达西方的价值观念。中国只是为他们提供材料及资源的“资料库”之一。本文在研究中还发现,这种“中国热”给中国电影带来的影响也是一把双刃剑。一方面,中国电影增加了与世界的交流与联系,有利于学习借鉴国外的优秀元素,加快自己的成长脚步,但同时,虽然中国电影在这股“中国流”的影响下贴上了鲜明的中国式标签走出了国门,但对本国的文化却出现了曲解与误读,不仅对如何在世界银幕上表达自己处于一种失语状态,还出了一种视觉奇观化的误区,甚至陷入到一种曲意迎合西方文化的“自我东方化”的怪圈之中。这就不得不引起我国电影人的警惕与重视。
本文以中国元素为切入点,以理论研究和影片实例分析相结合的方式,用文献研究和案例分析的研究方法,从世界电影使用中国元素的原因、中国元素在世界电影中的成功运用与误读以及世界电影使用中国元素对我国电影所造成的影响等方面进行了论证分析,从如何在世界银幕上建立一个正确、正面的中国国际形象的角度提出了对中国电影现状的反思,希望找到一条能够突破视觉奇观、内容空洞的中国电影现状的可行之路,创作出真正能够体现中国文化精髓,具有普适价值的优秀电影。
Since 90s of the 20th century , along with the process of China's reform and openness, the Chinese film market has opened the door to all over the world. With the accelerating pace of globalization and the enhance of the international status of China, More and more of the world’s films began to use Chinese elements to improve appreciation and market occupancy. In this period the world’s screen has blowing the powerful Chinese fashionable everywhere. Although this phenomenon is the performance of expand the worldwide influence of China, but when we are gratified, we also should soberly realize that the apply of Chinese elements in these films are not completely correct and proper, accord to the influence of the various reasons, there are so many misunderstandings in different degrees of Chinese elements in the world’s screen. Under this background, this paper puts forward the problem which explores the state of presentation of Chinese elements in the world's film. The limitations like the single type of roles, the undeserved status and the negative images caused the differences between national image and on-screen image, we can find that it’s not easy to change the world’s stereotype of China because of the long-term diaphragm and prejudice. So we can say, the purpose of using Chinese amorous feelings and Chinese elements is just for attracting the audience though foreign films keen on developing Chinese resources, it wants to express western values rather than cultural connotation of China. China has only provides the relevant materials and resources to them. In addition, this fashionable is a double-edged sword to the impact of China's film. On the one hand, Chinese films increase the exchange and contact with the world, in favour of learning foreign outstanding elements and accelerate our own growth pace. On the other hand, although with this influence of fashionable ,Chinese film take out the door with a distinct Chinese label, but the misconstrued and misread to the country's culture has appeared, not only in an aphasia condition of how to express themselves on the world’s screen, but also there is a boom of visual spectacle, even into a strange circle of deliberately cater to western culture. We have to cause our attention and be vigilant.
This article analysis theses subjects: why the world’s films use Chinese elements, the successful use and misreading of Chinese elements in the world’s films, and its impact to Chinese film world's film accord to use Chinese elements. We also propose to reconsider how to build a positive and correct international impact for China, hoping to find a way to break the visual spectacle and vacuous status, creating outstanding films who can indeed reflect the essence of Chinese culture and have the universal value.
本文以中国元素为切入点,以理论研究和影片实例分析相结合的方式,用文献研究和案例分析的研究方法,从世界电影使用中国元素的原因、中国元素在世界电影中的成功运用与误读以及世界电影使用中国元素对我国电影所造成的影响等方面进行了论证分析,从如何在世界银幕上建立一个正确、正面的中国国际形象的角度提出了对中国电影现状的反思,希望找到一条能够突破视觉奇观、内容空洞的中国电影现状的可行之路,创作出真正能够体现中国文化精髓,具有普适价值的优秀电影。
Since 90s of the 20th century , along with the process of China's reform and openness, the Chinese film market has opened the door to all over the world. With the accelerating pace of globalization and the enhance of the international status of China, More and more of the world’s films began to use Chinese elements to improve appreciation and market occupancy. In this period the world’s screen has blowing the powerful Chinese fashionable everywhere. Although this phenomenon is the performance of expand the worldwide influence of China, but when we are gratified, we also should soberly realize that the apply of Chinese elements in these films are not completely correct and proper, accord to the influence of the various reasons, there are so many misunderstandings in different degrees of Chinese elements in the world’s screen. Under this background, this paper puts forward the problem which explores the state of presentation of Chinese elements in the world's film. The limitations like the single type of roles, the undeserved status and the negative images caused the differences between national image and on-screen image, we can find that it’s not easy to change the world’s stereotype of China because of the long-term diaphragm and prejudice. So we can say, the purpose of using Chinese amorous feelings and Chinese elements is just for attracting the audience though foreign films keen on developing Chinese resources, it wants to express western values rather than cultural connotation of China. China has only provides the relevant materials and resources to them. In addition, this fashionable is a double-edged sword to the impact of China's film. On the one hand, Chinese films increase the exchange and contact with the world, in favour of learning foreign outstanding elements and accelerate our own growth pace. On the other hand, although with this influence of fashionable ,Chinese film take out the door with a distinct Chinese label, but the misconstrued and misread to the country's culture has appeared, not only in an aphasia condition of how to express themselves on the world’s screen, but also there is a boom of visual spectacle, even into a strange circle of deliberately cater to western culture. We have to cause our attention and be vigilant.
This article analysis theses subjects: why the world’s films use Chinese elements, the successful use and misreading of Chinese elements in the world’s films, and its impact to Chinese film world's film accord to use Chinese elements. We also propose to reconsider how to build a positive and correct international impact for China, hoping to find a way to break the visual spectacle and vacuous status, creating outstanding films who can indeed reflect the essence of Chinese culture and have the universal value.
引文
[1]何玉春.中国文化在世界电影中的独特魅力——观《功夫熊猫》谈国产动画片创作[J].新闻天地.2009,(8):47.
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[7]许晓琴.东方·东方学·东方主义——赛义德后殖民批评与东方学批判[J],语文学刊:外语教育与教学,2010(2):7-10.
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[12]朱光潜.谈美[M],北京大学出版社,2008.
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[15]蔡骐,廖婕.解析好莱坞电影之“中国风”现象——基于文本、机构及受众的视角[J].湖南师范大学社会科学学报,2009,(2):143.
[16] (法)布罗代尔.论历史,北京大学出版社,2008.
[17]王垚.从《2012》看“美国主旋律”和“中国元素”,2010(1):8.
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[19] 21世纪华语片各地票房TOP10一览[EB/OL]. http://i.mtime.com/fengyingshouce/blog/4708257/.
[20]《战国》北美持续给力“空降”国际票房榜前十[EB/OL]. http://ent.sina.com.cn/m/c/2011-04-29/05373295468.shtml.
[21]周黎明.好莱坞启示录[M],复旦大学出版社,2005
[22]孟华.比较文学形象学[M],北京大学出版社,2001
[23]秦喜清.欧美电影与中国早期电影1920—1930[M],中国电影出版社,2008
[24]赵佳佳.好莱坞对中国传统文化符号的借用及转换[J],中外文艺,2010,(6)
[23]杨青.中国元素对世界电影的影响[J],大众文艺,2009,(22)
[24]刘继南,何辉.中国形象:中国国家形象的国际传播现状与对策[M],中国传媒大学出版社,2006
[25]张美云.好莱坞电影“泊来“中国元素与国家文化安全[J],电影文学,2010,(11)
[26]卢燕,李亦中.聚焦好莱坞——文化与市场对接,北京大学出版社,2006
[2]百度百科《末代皇帝》.[EB/OL]. http://baike.baidu.com/view/26812.htm.
[3] (美)斯坦利·罗森.狼逼门前:1994一2000年的好莱坞和中国电影市场(上) [J].北京电影学院学报,2003,(01):46.
[4]余超文,葛兰西文化霸权思想与中国文化安全[J],当代经理人,2005,(1):137.
[5] (美)爱德华·W·赛义德.东方学[M].北京三联书店,1999.
[6]李建群.中国语境中的后殖民文化理论[J].西安交大学报,2007,(4):12-17.
[7]许晓琴.东方·东方学·东方主义——赛义德后殖民批评与东方学批判[J],语文学刊:外语教育与教学,2010(2):7-10.
[8]周文萍.当今好莱坞电影中的中国元素解读[Z].暨南学报,2009(5):19.
[9]张国荣批评好莱坞电影华人角色常有辱华成分[EB/OL]. [2008-619],http://ent.sina.com.cn/s/h35214.html.
[10]章子怡:在好莱坞只能演穷人和妓女[EB/OL]. [2008-6-12],http://news.rednet.cn/c/2006/11/27/1041946_1.htm.
[11]袁源.中国乎?很中国——谈电影《功夫熊猫》中国元素的美学接受[J].电影评介,2008(19):44.
[12]朱光潜.谈美[M],北京大学出版社,2008.
[13]章柏青,张卫.电影观众学[M].中国电影出版社.1994.
[14]吴晶.武侠电影的“江湖”在哪儿[EB/OL]. http://news.sina.com.cn/s/2005-12-14/03307700205s.shtml.
[15]蔡骐,廖婕.解析好莱坞电影之“中国风”现象——基于文本、机构及受众的视角[J].湖南师范大学社会科学学报,2009,(2):143.
[16] (法)布罗代尔.论历史,北京大学出版社,2008.
[17]王垚.从《2012》看“美国主旋律”和“中国元素”,2010(1):8.
[18]为何守着金山还哭穷--好莱坞促使中国电影反思[EB/OL]. http://culture.people.com.cn/GB/27296/9539295.html.
[19] 21世纪华语片各地票房TOP10一览[EB/OL]. http://i.mtime.com/fengyingshouce/blog/4708257/.
[20]《战国》北美持续给力“空降”国际票房榜前十[EB/OL]. http://ent.sina.com.cn/m/c/2011-04-29/05373295468.shtml.
[21]周黎明.好莱坞启示录[M],复旦大学出版社,2005
[22]孟华.比较文学形象学[M],北京大学出版社,2001
[23]秦喜清.欧美电影与中国早期电影1920—1930[M],中国电影出版社,2008
[24]赵佳佳.好莱坞对中国传统文化符号的借用及转换[J],中外文艺,2010,(6)
[23]杨青.中国元素对世界电影的影响[J],大众文艺,2009,(22)
[24]刘继南,何辉.中国形象:中国国家形象的国际传播现状与对策[M],中国传媒大学出版社,2006
[25]张美云.好莱坞电影“泊来“中国元素与国家文化安全[J],电影文学,2010,(11)
[26]卢燕,李亦中.聚焦好莱坞——文化与市场对接,北京大学出版社,2006