發(fā)布時(shí)間：2018-06-02 09:06

  本文選題：現(xiàn)實(shí)主義 + 二次元　； 參考：《文藝研究》2017年10期

【摘要】：中國電影創(chuàng)作越來越遠(yuǎn)離現(xiàn)實(shí)。20世紀(jì)90年代,中國電影出現(xiàn)了特有的"硬核現(xiàn)實(shí)主義"風(fēng)格,《小武》和《秋菊打官司》可概括為這種硬核現(xiàn)實(shí)主義的兩種表現(xiàn)形式。2002年至今的電影創(chuàng)作中,現(xiàn)實(shí)主義有三種走向,即為適應(yīng)中國電影治理體制的策略而產(chǎn)生的"軟核現(xiàn)實(shí)主義"、投機(jī)資本在產(chǎn)業(yè)化過程中誘導(dǎo)產(chǎn)生的"粉紅色現(xiàn)實(shí)主義"和因新的青年亞文化興起而出現(xiàn)的"二次元寫實(shí)主義"。這些風(fēng)格和作品屬于變形的現(xiàn)實(shí)主義,共同體現(xiàn)了電影的故事工業(yè)所面臨的"故事的衰竭"的時(shí)代危機(jī)。
[Abstract]:Chinese film creation is becoming more and more distant from reality. Chinese films have a unique "hard-core realism" style, "Xiao Wu" and "Qiuju lawsuit" can be summed up as the two forms of hard nuclear realism. In the film creation since 2002, realism has three trends. That is, "soft nuclear realism", "pink realism" induced by speculative capital in the process of industrialization and "quadratic element realism" arising from the rise of new youth subculture in order to adapt to the strategy of Chinese film governance system. These styles and works are metamorphosed realism, which reflects the crisis of the "story failure" faced by the film story industry.
【作者單位】： 北京大學(xué)藝術(shù)學(xué)院;
【分類號(hào)】：J905
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本文編號(hào)：1968211