本文選題：北上 + 文化策略��； 參考：《福建師范大學》2014年碩士論文

【摘要】：香港電影人紛紛“北上”是中國電影市場的需求,同時也是社會文化大融合的具體體現(xiàn)。香港電影人“北上”所采取的合拍片的方式不僅給香港電影市場帶來了巨大的生存空間,同時也為內(nèi)地電影市場開啟了新的電影創(chuàng)作模式,豐富了內(nèi)地電影市場的藝術(shù)理念,滿足了內(nèi)地電影觀眾的文化訴求,進而為香港導(dǎo)演打開了一條新的文化之旅。 2013年,國產(chǎn)中小成本電影主打現(xiàn)實題材的電影創(chuàng)作模式。在這一年里由香港導(dǎo)演陳可辛執(zhí)導(dǎo)的電影《中國合伙人》備受關(guān)注。這是因為該電影是他“北上”之后“陳氏電影的回歸”。這所以被認定為“陳氏電影的回歸”是因為導(dǎo)演將他“北上”以前的電影拍攝風格展現(xiàn)在該電影當中,與其以往的合拍片相比不再是大投資、大制作的場面,而是走向具有懷舊氣息的小清新風格。 這部具有早期陳可辛電影特色的勵志電影《中國合伙人》成功地喚起了內(nèi)地觀眾的情感共鳴。繼內(nèi)地電影市場轉(zhuǎn)向?qū)ΜF(xiàn)實題材創(chuàng)作模式中,又一部引發(fā)人們對青春、夢想、成功等話題有所爭議的影片。同時,也讓我們再次將目光聚焦到該片的導(dǎo)演陳可辛的身上這位票房毒藥的香港導(dǎo)演。他在面對北上之路所遇到的諸多藝術(shù)創(chuàng)作困難,是如何將內(nèi)地文化與導(dǎo)演一貫的藝術(shù)創(chuàng)作理念結(jié)合到電影制作中去的。并且如何掌握電影的“話語權(quán)”進而使影片獲得較高的藝術(shù)性,是值得電影人去思考的問題。
[Abstract]:Hong Kong filmmakers' going northward is the demand of Chinese film market, and it is also the embodiment of social and cultural integration. The co-production method adopted by Hong Kong filmmakers "going northward" has not only brought huge living space to the Hong Kong film market, but also opened up a new film creation model for the mainland film market and enriched the artistic concept of the mainland film market. It satisfies the cultural aspirations of the mainland film audience and opens up a new cultural journey for Hong Kong directors. In 2013, the domestic medium and small cost films focused on the realistic film creation model. During the year, Hong Kong director Chan Ko-sing directed the film, China Partners, which attracted much attention. This is because the film was the return of Chen's films after he went northward. This was considered "the return of Chen's movies" because the director showed his previous film style of "going northward" in the film, and was no longer a big investment, big production scene compared with his previous co-productions. But towards a little fresh style with nostalgia. This inspirational film featuring early Chan Kexin, the Chinese partner, has succeeded in evoking emotional resonance among mainland audiences. After the mainland film market turns to the realistic theme creation mode, another film that causes people to have the dispute to the youth, the dream, the success topic and so on. At the same time, let's focus once again on the film's director, Chan Kexin, the Hong Kong director of box office poison. In the face of many difficulties in artistic creation he encountered on his way northward, how did he combine the mainland culture with the director's consistent artistic creation concept into the production of films. And how to master the "right of speech" and make the film more artistic is a problem worthy to be considered by filmmakers.
【學位授予單位】：福建師范大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J905

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