本文選題：古裝合拍片　切入點(diǎn)：香港電影　出處：《南京師范大學(xué)》2014年碩士論文　論文類型：學(xué)位論文

【摘要】：1979年,中國(guó)電影合作制片公司的成立直接促成了香港與內(nèi)地影人的合作。至今,30多年的合作歷程,經(jīng)歷了三個(gè)主要階段：香港電影繁榮時(shí)期的主導(dǎo)階段、香港電影衰退期的低迷階段和CEPA簽署以來(lái)的新階段(可稱為后CEPA時(shí)代)。無(wú)論是在制片數(shù)量上還是電影票房與市場(chǎng)份額上,古裝合拍片在各個(gè)歷史階段都明顯占據(jù)了重要地位。 兩地合拍片之所以青睞古裝片,首先在于歷史資源的豐富與國(guó)產(chǎn)電影古裝題材創(chuàng)作的歷史慣性；其次,從觀眾接受心理上來(lái)看,由于1949年之后兩地在制度、經(jīng)濟(jì)、文化上的差異化發(fā)展,取材于歷史的電影創(chuàng)作相對(duì)能夠同時(shí)兼顧香港與內(nèi)地受眾的觀影口味；從商業(yè)策略來(lái)講,古裝電影,尤其是后CEPA時(shí)代的古裝大片,更符合好萊塢大片影響下的市場(chǎng)需求；最后,兩地不同的政治氣候、意識(shí)形態(tài)差異以及電影審查制度對(duì)敏感題材的限制都使得遠(yuǎn)離現(xiàn)實(shí)的古裝電影更容易通過(guò)內(nèi)地的審查。 古裝合拍片在產(chǎn)業(yè)價(jià)值與文化價(jià)值上都對(duì)華語(yǔ)電影貢獻(xiàn)頗多,尤其是“古裝大片”,直接促進(jìn)了國(guó)產(chǎn)電影業(yè)的復(fù)蘇與繁榮,但10年來(lái)扎堆推出的古裝大片已經(jīng)讓觀眾產(chǎn)生了審美疲勞,同質(zhì)性題材的過(guò)度開(kāi)發(fā)、歷史的個(gè)人化解讀等弊病已然宣告了集群化“古裝大片”的時(shí)代即將過(guò)去,古裝合拍片的出路以及兩地合拍片的方向在哪里,值得兩地影人深思。
[Abstract]:In 1979, the establishment of the Chinese film co-production company directly contributed to the cooperation between Hong Kong and mainland filmmakers. Over 30 years of cooperation, the company has gone through three main stages: the leading stage of the Hong Kong film boom. The downturn in the Hong Kong film recession and the new phase since the signing of CEPA. Whether in terms of the number of films produced or in terms of box office and market share, vintage co-productions have clearly occupied an important place at all stages of history. The reason why the co-productions of the two places favor ancient clothes films lies first in the abundance of historical resources and the historical inertia in the creation of domestic films on ancient costumes; secondly, in terms of the audience's acceptance mentality, because of the institutions and economies of the two places after 1949, The development of cultural differentiation, based on historical film creation, can take into account the audience's taste of both Hong Kong and the mainland at the same time. In terms of business strategy, ancient costume movies, especially those of the post-#en0# era, are of great importance. More in line with Hollywood blockbuster market demand; finally, different political climate, ideological differences and film censorship restrictions on sensitive subjects make it easier for off-the-scenes antiquated films to pass mainland censorship. The co-production of ancient clothes has contributed a lot to the Chinese language films in terms of both industrial and cultural values. In particular, it has contributed directly to the revival and prosperity of the domestic film industry. However, over the past 10 years, the mass production of ancient costume blockbusters has caused the audience to experience aesthetic fatigue. The over-exploitation of homogenous themes and the personal interpretation of history have already declared the passing of the age of "ancient costume blockbusters." The way out and the direction of co-production in ancient clothes are worth pondering.
【學(xué)位授予單位】：南京師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J905

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