本文選題：中國(guó)電影　切入點(diǎn)：電影創(chuàng)作　出處：《藝術(shù)百家》2017年01期

【摘要】：2016年5月,吳天明遺作《百鳥(niǎo)朝鳳》造就了一次關(guān)于藝術(shù)電影的起落風(fēng)潮,遭遇市場(chǎng)失落,卻因?yàn)橐淮喂蛘?qǐng)而逆襲市場(chǎng)的事件,媒介傳播的驚人事件引發(fā)不同認(rèn)識(shí)。藝術(shù)電影原本期望受到觀眾的禮遇而不得,卻意外獲得觀賞的機(jī)遇;藝術(shù)電影不應(yīng)該與商業(yè)電影爭(zhēng)奪市場(chǎng),卻不忍被冷落的命運(yùn);因?yàn)楸槎@得超越性的票房,但自身的價(jià)值如何判定。這些問(wèn)題都需要站在更為客觀的角度來(lái)辨析。同時(shí),媒介傳播的角色不容忽視。
[Abstract]:In May 2016, Wu Tianming's posthumous book "Birds at the Phoenix" created a wave of ups and downs about art films, encountered a market loss, but fought back against the market because of a kneeling invitation. The startling events of media communication triggered a different understanding.Art films, which were originally expected to be treated with courtesy from the audience, were unexpectedly given the opportunity to watch; art films should not compete with commercial films for the market, but they could not bear the fate of being left out; and because of their sadness, they won transcendent box-office sales.But how to judge their own value.These problems need to be analyzed from a more objective perspective.At the same time, the role of media communication can not be ignored.
【作者單位】： 北京師范大學(xué)藝術(shù)與傳媒學(xué)院;
【分類號(hào)】：J943

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