主旋律电影改革开放三十年成长之路
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摘要
新中国建国以来主旋律电影都以一种特有的方式在中国电影市场中占有重要的位置。从新中国成立至今,主旋律电影伴随着国家共同成长形成了具有振奋民族精神和传播主流价值观的主旋律电影作品。纵观六十多年来主旋律电影创作,每一历史时期表达的侧重点都不同,不断找准需要表达的国家主流意识形态同时力求更好的弘扬本民族优秀传统文化和时代新貌。
本文首先梳理了1949年到1966年建国十七年和文革时期“主旋律”电影创作概况以及这时期的创作对后来影响;其次,重点分析和总结了改革开放三十年主旋律电影在题材内容、叙事方式、人物塑造、视听语言、创作群体等方面为了适应和迎合市场需求不断做出的全方位调整后如何打破常规突破瓶颈,从机械的复制创作到拥有自身魅力的新主旋律电影;最后,分析新时期主旋律电影的文化背景和产业现状,对主旋律电影未来的发展之路进行了探索。
主旋律电影作为新中国主流电影的表述介质之一,构建出一种具有导向力的文化话语权,在话语层面不仅是政治的需要和精神文明建设的产物,而且是一个向世界传播中国特色主流价值观的重要媒介。因此,面对市场,面对观众创作出艺术上精湛,思想上精深,制作上精良的影片是我们电影工作者义不容辞的历史使命。
Since the founding of The People's Republic of China, the thematic film plays an important role with a peculiar pattern in the Chinese film market. From the founding of The People's Republic of China to now, thematic films grew with our country, has formed the film productions who can rouse the national spirit and spread the mainstream values. Throughout the thematic films in more than sixty years, it expressed different emphasis in each historical period, we try to express the national mainstream ideology, at the same time, we also try to propagate the national excellent traditional culture and contemporary discretion better.
First of all, this paper combs and summarized the situation of“built the country for 17 years”from 1949 to 1966, the situation of the thematic film in“Cultural revolution”and the influence to the future of this period. Secondly, this paper analysis and summarizes the aspects like subjects, narrative style and character molding, audio-visual language and the creation group of the thematic films in these three decades for reforming and opening to the outside world, and for adapting and catering to the market demand, we adjusted and broke the routine omni-directional. We also experienced from the mechanical copying type creation to the new thematic films with their own charm film. Finally, it analysis the cultural background and the situations of the thematic film industry in the new period, explores the way of the development of the thematic film in the future.
The thematic films as one of the expression medium for the mainstream films in our country, constructs a kind of cultural discourse with guidance force, not only is the political needs and the production for the spiritual civilization construction in discourse aspect, but also the important media for spreading the Chinese characteristic mainstream values. Therefore, when we in the face of market or in the face of the thematic films who have the exquisite art, the ideological profound, the sophisticated fabrication and who are created by audiences, when we have double harvest in both social effect and economic benefits, we should never forget to spread the mainstream value with Chinese characteristics to all over the world more widely at the same time, it’s the historic mission to the filmmakers.
本文首先梳理了1949年到1966年建国十七年和文革时期“主旋律”电影创作概况以及这时期的创作对后来影响;其次,重点分析和总结了改革开放三十年主旋律电影在题材内容、叙事方式、人物塑造、视听语言、创作群体等方面为了适应和迎合市场需求不断做出的全方位调整后如何打破常规突破瓶颈,从机械的复制创作到拥有自身魅力的新主旋律电影;最后,分析新时期主旋律电影的文化背景和产业现状,对主旋律电影未来的发展之路进行了探索。
主旋律电影作为新中国主流电影的表述介质之一,构建出一种具有导向力的文化话语权,在话语层面不仅是政治的需要和精神文明建设的产物,而且是一个向世界传播中国特色主流价值观的重要媒介。因此,面对市场,面对观众创作出艺术上精湛,思想上精深,制作上精良的影片是我们电影工作者义不容辞的历史使命。
Since the founding of The People's Republic of China, the thematic film plays an important role with a peculiar pattern in the Chinese film market. From the founding of The People's Republic of China to now, thematic films grew with our country, has formed the film productions who can rouse the national spirit and spread the mainstream values. Throughout the thematic films in more than sixty years, it expressed different emphasis in each historical period, we try to express the national mainstream ideology, at the same time, we also try to propagate the national excellent traditional culture and contemporary discretion better.
First of all, this paper combs and summarized the situation of“built the country for 17 years”from 1949 to 1966, the situation of the thematic film in“Cultural revolution”and the influence to the future of this period. Secondly, this paper analysis and summarizes the aspects like subjects, narrative style and character molding, audio-visual language and the creation group of the thematic films in these three decades for reforming and opening to the outside world, and for adapting and catering to the market demand, we adjusted and broke the routine omni-directional. We also experienced from the mechanical copying type creation to the new thematic films with their own charm film. Finally, it analysis the cultural background and the situations of the thematic film industry in the new period, explores the way of the development of the thematic film in the future.
The thematic films as one of the expression medium for the mainstream films in our country, constructs a kind of cultural discourse with guidance force, not only is the political needs and the production for the spiritual civilization construction in discourse aspect, but also the important media for spreading the Chinese characteristic mainstream values. Therefore, when we in the face of market or in the face of the thematic films who have the exquisite art, the ideological profound, the sophisticated fabrication and who are created by audiences, when we have double harvest in both social effect and economic benefits, we should never forget to spread the mainstream value with Chinese characteristics to all over the world more widely at the same time, it’s the historic mission to the filmmakers.
引文
[1]李宗彦,主旋律电影命名考察[J].艺术广角,2008,(1):34.
[2]王惠民,复现的传奇—英雄主题与新中国主流电影价值表述传统[D].重庆,西南大学,2009.
[3]新华网,改革开放30年中国文化发展回眸[LO]. http//news.xinhuanet.com/2008-11/02 content_10295298.htm,2008-22-02.
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[5]倪震,大众文化心理的满足于拓展—中国主流商业大片的回顾[J].当代电影,2010,(1):57—60.
[6]艾青,论主旋律电影叙事模式转型[J].兰州学刊,2008,(11):169—171.
[7]王蕾,刘讯,略谈主旋律电影发展的新趋势—国庆60周年献礼片管窥[J].电影文学,2010,(1):12—14.
[8]罗清池,从《建国大业》的热映管窥中国主旋律电影运营策略的转型[J].电影评介, 2009,(22):75—76.
[9]郑薇,论电影的审美取向和主流价值观表达[J].边疆经济与文化,2010,(8):64—65
[10]许婧,“全球化视野下主流电影的文化认同及产业发展学术探讨会”评述[J].电影艺术,2008,(1):152—153.
[11]尹鸿,创造与传播共享价值—从主旋律到主流电影[EB/LO]. http//blog.sina.cn/s/blog_482580270100lz71.html,2008-05-19.
[12]汪献平,产业与类型:主旋律电影的转型策略[J].上海师范大学学报,2007,(5):94—99.
[13]胡谱忠,主旋律电影与商业片的互动渐变规则[J].贵州大学学报,2002,(1):33—37.
[14]宋家玲,主旋律电影的危机与活路[J].电影艺术,2006,(1):53—55.
[15]孙晓天,主旋律电影市场化道路探索[J].山东艺术学院学报,2009,(4):44—48
[16]贾磊磊,中国电影的精神地图—论主流电影与文化核心价值观的传播路径[J].当代电影,2007,(3):24—28.
[17]章柏青,贾磊磊,中国当代电影发展史(上下册)[M].北京:文化艺术出版社,2006.
[18]吴筑清,张岱,中国电影的丰碑——延安电影团故事[M].北京:中国人民大学出版社,2008.
[19]饶朔光,裴亚莉,新时期电影文化思潮——新时期电影研究丛书[M].北京:中国广播电视出版社,1997.
[20]倪震,改革与中国电影[M].北京:中国电影出版社,1994.
[21]张颐武,中国改革开放三十年文化发展史[M].北京:文化艺术出版社,2008.
[22]吴晓波,激荡三十年[M].上海:上海人民出版社,2008.
[23]陈旭光,当代中国影视文化研究[M].北京:北京大学出版社,2010.
[2]王惠民,复现的传奇—英雄主题与新中国主流电影价值表述传统[D].重庆,西南大学,2009.
[3]新华网,改革开放30年中国文化发展回眸[LO]. http//news.xinhuanet.com/2008-11/02 content_10295298.htm,2008-22-02.
[4]中国经济周刊,点评改革开放30年最具影响力的30件大事[OL]. http//news.xinhuanet.com/2008-01/09content_7388649.htm,2008-01-09.
[5]倪震,大众文化心理的满足于拓展—中国主流商业大片的回顾[J].当代电影,2010,(1):57—60.
[6]艾青,论主旋律电影叙事模式转型[J].兰州学刊,2008,(11):169—171.
[7]王蕾,刘讯,略谈主旋律电影发展的新趋势—国庆60周年献礼片管窥[J].电影文学,2010,(1):12—14.
[8]罗清池,从《建国大业》的热映管窥中国主旋律电影运营策略的转型[J].电影评介, 2009,(22):75—76.
[9]郑薇,论电影的审美取向和主流价值观表达[J].边疆经济与文化,2010,(8):64—65
[10]许婧,“全球化视野下主流电影的文化认同及产业发展学术探讨会”评述[J].电影艺术,2008,(1):152—153.
[11]尹鸿,创造与传播共享价值—从主旋律到主流电影[EB/LO]. http//blog.sina.cn/s/blog_482580270100lz71.html,2008-05-19.
[12]汪献平,产业与类型:主旋律电影的转型策略[J].上海师范大学学报,2007,(5):94—99.
[13]胡谱忠,主旋律电影与商业片的互动渐变规则[J].贵州大学学报,2002,(1):33—37.
[14]宋家玲,主旋律电影的危机与活路[J].电影艺术,2006,(1):53—55.
[15]孙晓天,主旋律电影市场化道路探索[J].山东艺术学院学报,2009,(4):44—48
[16]贾磊磊,中国电影的精神地图—论主流电影与文化核心价值观的传播路径[J].当代电影,2007,(3):24—28.
[17]章柏青,贾磊磊,中国当代电影发展史(上下册)[M].北京:文化艺术出版社,2006.
[18]吴筑清,张岱,中国电影的丰碑——延安电影团故事[M].北京:中国人民大学出版社,2008.
[19]饶朔光,裴亚莉,新时期电影文化思潮——新时期电影研究丛书[M].北京:中国广播电视出版社,1997.
[20]倪震,改革与中国电影[M].北京:中国电影出版社,1994.
[21]张颐武,中国改革开放三十年文化发展史[M].北京:文化艺术出版社,2008.
[22]吴晓波,激荡三十年[M].上海:上海人民出版社,2008.
[23]陈旭光,当代中国影视文化研究[M].北京:北京大学出版社,2010.