本文選題：《舞力對決》　切入點(diǎn)：歌舞電影　出處：《電影文學(xué)》2017年10期

【摘要】：新世紀(jì)以后,歌舞電影有了較大的發(fā)展,其中最為明顯的便是以街舞為代表的青春化符號的廣為運(yùn)用,且不同舞蹈(包括聲樂)藝術(shù)之間能夠因電影敘事而呈現(xiàn)一體化。善于推陳出新的馬科斯·吉瓦和丹尼亞·帕斯奎尼在《舞力對決》(Street Dance 3D,2010)的嘗試后,又推出了《舞力對決2》(Street Dance 2,2012),以舞蹈為載體,闡釋了融合、競爭、愛情等多重主題,使電影在給予觀眾感觀層面的享受外,又能指向更深入的思考。
[Abstract]:After the new century, there has been a great development in the music and dance movies, among which the most obvious one is the wide use of the youthful symbols represented by the street dance, and the different dance (including vocal music) art can be integrated by the film narration.After the attempt by Marcos Giwa and Danya Pasquini, who are good at bringing out the old and the new, in "Dancing Dance 3D" (2010), they launched "Dancing Dancing" 2 > Street Dance 22012. With dance as the carrier, they explained the multiple themes of integration, competition, love, and so on.The film can give the audience a sense of enjoyment, but also point to more in-depth thinking.
【作者單位】： 長春師范大學(xué)音樂學(xué)院;
【基金】：2016年度吉林省教育科學(xué)規(guī)劃教研課題“以市場需求為導(dǎo)向的滿族舞蹈教育人才培養(yǎng)機(jī)制研究”(項(xiàng)目編號:GH16433)
【分類號】：J951
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本文編號：1710363