坚守与突围

【作者】 牛卫红；

【导师】 李震；

【作者基本信息】 陕西师范大学 ， 中国现当代文学， 2012， 博士

【摘要】 以张元的《妈妈》为起点,新生代电影人及作品频频亮相国际影坛并屡次斩获大奖,给世界一次新的震惊体验,从此新生代电影人成为中国影坛上一支不可忽视的电影生力军。新生代电影人通过对中国电影传统资源及世界电影资源的不断开掘,通过个性化的影像实践与世界电影作有益的对话与交流。短暂的20多年中新生代电影人为中国电影甚至民族文化的现代化、本土化、多元化和国际化做出了重要的贡献,其探索精神和文化品格在未来仍然会持续显现出价值和影响。本论文通过对新生代电影跨文化传播的溯源及当前进程的解读,针对目前它们跨文化实践中遭遇的困境和障碍,试图建构一条中国新生代电影跨文化传播的路径,以实现中国民族电影在世界的崛起。绪论主要是梳理国内外有关中国新生代电影研究现状,在总结中国电影界代际论的观点和有关“第六代”“新生代”“后第五代”命名等观点,突破以往以导演出生年代、学习专业来划分代际的方式,创造性地提出新生代是继“第五代”中国电影一元化格局终结后,20世纪90年代以来活跃在中国影坛,在多元社会文化语境下进行实验性、先锋性、个人化电影创作的年轻新锐导演群体,是电影创作多元共生的一代。这一定义丰富了新生代的含义,基本能准确概括当下中国青年电影工作者的创作状态和影像实践状况。第一章主要分析新生代电影跨文化传播的多元语境。论文立足20世纪90年代以来广阔的社会背景,从政治、经济、文化、艺术等诸多因素入手,深入挖掘新生代电影跨文化传播的种种根源和动因,揭示出繁复多变的电影思潮背后所蕴藏的深刻历史规律,分析中国新生代电影参与跨文化传播的合理性、必要性和迫切性,揭示新生代电影跨文化传播的历史走向。第二章主要运用比较研究方法,创新性地将中国新生代电影与世界电影进行对比,剖析中国新生代电影跨文化传播的基础。中国新生代电影在对世界电影资源的不断开掘中形成了独特而又鲜明的跨文化传播特征。他们以强烈的主体精神关注当下,关注个体生命,关注底层。他们秉持着对电影艺术的赤诚之心,以青年特有的蓬勃朝气和敏锐思维,确立国际化视野,争取国际观众群。在世界纪实电影理论的感召下新生代电影在跨文化传播中自觉扛起纪实主义大旗,以参展国际电影节为突破口积极建构着全球文化传播的策略,创造了新生代电影跨文化传播的别样风情。第三章重点分析中国新生代电影跨文化传播遭遇的现实困境,为建构新生代电影跨文化突围路径探求方向。新生代导演置身于一个日益开放交融的文化语境,立足于世界的庞大市场,裹挟于迅猛的全球化浪潮,其面临的挑战和机遇是前所未有的。作为商品,新生代电影大众娱乐精神缺失、电影主体僵化、电影类型单一、稚弱；作为文化产品,新生代电影民族价值追求和文化精神显现相对虚空、审美视野局限；作为意识形态,新生代电影遭遇文化征服、凸现后殖民危机。这一切导致新生代电影跨文化传播面临严峻挑战。揭示新生代电影跨文化传播实质问题,阐明新生代电影跨文化传播的发展方向。第四章是本论文研究的关键所在,试图建构中国新生代电影跨文化突围之路径。新时期以来的中国电影国际竞争力在近30年的时间内有了长足发展和迅速提升,但和世界电影强国相比,中国电影国际竞争力依然积弱不强,竞争乏力。中国新生代电影面对全球化的现实、面对自身跨文化的困境必须探索一条通往世界的电影之路。国家政策创新,完善电影管理体制,深化电影产业改革,打造电影跨文化传播平台,为新生代电影跨文化突围提供有力保障；电影产品要练好“内功”,在坚守本土文化立场和国际化视野中精心打造电影品质,提升新生代电影核心竞争力；开发后电影产品市场,理顺、拓宽新生代电影投融资渠道,增强跨文化传播的经济实力,共同建构新生代电影跨文化突围的路径,实现中国民族电影的复兴与崛起。进入21世纪,中国电影业完全被裹挟在全球化的洪流中,在跨文化对话中打造“民族电影”的品牌,实现与世界电影的接轨已经历史性地摆在中国新生代电影人的面前。中国新生代电影人一定能够不辱使命,在探索中发现,在挫折中成长,在合作中进步,共同开创中国电影跨文化传播更加辉煌的未来。更多还原

【Abstract】 Beginning with the movie Mother directed by Zhang Yuan in1990, the New Generation of China movie (NGCM) has gone through for20years and won a prize in the world again and again. So, more and more people pay attention and discuss it. NGCM has learned and absorbed acknowledge through the traditional resources of the Chinese film and world cinema resources to practice film. They gave the world a new shocking experience, which made them film combatants. In the past20years, the new generation makes a progress with the cross-culture communication. They made important contributions to Chinese films including contemporary culture modernization, nationalization, diversification and internationalization, and even the spirit of exploration and cultural character of the film. They will still continue to show the value and impact in the future. In this thesis, we will interpret the contemporary process and status quo of intercultural propagation, trace the source of cross-cultural communication film of the new generation, and analyze the difficulties and obstacles encountered in the practice of cross-cultural movie. We try to seek to the culture way of Chinese movies to talk with the world and we also try to make Chinese movies break through difficulties and obstacles, and rise the Chinese national film in world cinema.This thesis discusses the problem mainly from four aspects:The first chapter is to explore and analyze the multi-context of the cross-cultural transmission of the new generation film(NGF). A variety of factors start to participate in accounting for the rationality, necessity and urgency of the cross-cultural practice of NGF. Since1990s, these factors such as, the politics, economy, culture, film censorship issue and the film market changes a lot.The second chapter is to analyze the basis of cross-cultural communication of NGF. New generation Chinese film (NGCF), have absorbed much from world cinema resources. Under the influence of the world film, they showed a very prominent international character, which became a solid foundation for the spread of cross-cultural film, and achieve the goal of giving Chinese national film(CNF) world a bright and promising future.The third chapter mainly focus on the analysis of cross-cultural communicating difficulties and obstacles encountered in the process of cross-cultural exchange with the world cinema. In the process of exchange between NGCF and the world film, obvious defects and deficiencies occurred in movie merchandise, cultural products, or ideology, which made it difficult to obtain full recognition among the world’s mainstream film. Therefore, CNF can not be fully exchanged and understand in the cross-cultural communication.The fourth chapter is to explore the cross-cultural road of a breakthrough of NGCF. A film road to the world would be found to face the reality of globalization and the plight of our own cross-cultural difficulties. The new generation filmmakers and film itself, the Chinese government and the film market are going to offer great help in cross-cultural breakthrough of NGF to the world, and the rise of the Chinese national film forces nouvelles.更多还原