本文選題：工業(yè)題材電影 + 公式化　； 參考：《當代電影》2017年06期

【摘要】：1954年出品的《英雄司機》《無窮的潛力》《偉大的起點》三部工業(yè)題材影片,雖成績不俗,各有亮點,但在主題、情節(jié)、結構、人物形象等方面,存在明顯雷同,當年就是公共話題,觀眾不滿,領導批評,藝術家無奈。三部影片中更大的問題是其人物關系、矛盾設置、價值判斷及工程技術人員負面形象等方面的雷同,不僅有違科學理性,且有違生活常識。三部影片如出一轍,出于電影人對新中國政治的信仰和忠誠,積極宣傳黨的政策,對人物及其故事情節(jié)作應然式演繹和詮釋。更深層的原因是電影人經(jīng)歷思想改造,力圖精神合群,同時也害怕得咎,形成"不求藝術有功,但求政治無過"的創(chuàng)作心態(tài),自抑個性,隨波逐流,甘愿被群體語境形塑。藝術中的概念化、公式化,是宗教心態(tài)及其宗教式思維的產物,亦是群體心理的結晶。
[Abstract]:The three industrial films produced in 1954, "the driver of Heroes," "the Infinite potential" and "the Great starting Point", have good results and bright spots, but there are obvious similarities in theme, plot, structure, character image, etc. That was a public topic, audience dissatisfaction, leadership criticism, artists helpless. The bigger problem in the three films is the similarity of their character relationship, contradiction setting, value judgment and negative image of engineers and technicians, which is not only against scientific reason, but also against common sense of life. The three films are the same, out of the filmmakers' faith and loyalty to the politics of New China, they actively propagate the Party's policy, and interpret and interpret the characters and their storylines as they should be. The deeper reason is that the filmmakers have experienced ideological transformation, tried hard to fit in with the masses, and at the same time they were afraid of getting to blame. They formed a creative mentality of "not asking for the merits of art, but seeking no political achievements," self-suppressing their individuality, following the current, and willing to be shaped by a group context. Conceptualization and formulation in art are the product of religious mentality and religious thinking, and the crystallization of group psychology.
【作者單位】： 中國電影藝術研究中心;
【分類號】：J905

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【共引文獻】

中國期刊全文數(shù)據(jù)庫 前3條

1 陳墨;;不約而同:1954年三部工業(yè)題材電影研究[J];當代電影;2017年06期

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本文編號：1795866