【摘要】：本文主要分析近些年一些國產(chǎn)電影對當代史的重新敘述,來反思當下中國所面對的復(fù)雜情勢。目前,有三種不同的當代史故事,一類是彌合當代史的創(chuàng)傷(《集結(jié)號》《唐山大地震》等),二是無法歸來的父親(《歸來》《闖入者》等),三是新的中國主體(《狼圖騰》《戰(zhàn)狼》等)。相比冷戰(zhàn)后其他社會主義國家的解體,當代史與當下中國保持著密切的互動關(guān)系,這不僅因為當下中國依然處在當代史的傳統(tǒng)(陰影)之中,更重要的是當下中國的不確定性和矛盾時刻迫使人們返回到當代史中來錨定自己的位置
[Abstract]:This paper mainly analyzes the restatement of contemporary history in some domestic films in recent years to reflect on the complex situation facing China. At present, there are three different kinds of contemporary history stories, one is to heal the trauma of contemporary history (Assembly number > < Tangshan earthquake > etc.), the other is the father who cannot return ("return" < intruder), and the third is the new Chinese main body ("Wolf Totem" < Wolf Warriors > etc.) Compared with the disintegration of other socialist countries after the cold war, contemporary history has maintained close interaction with the present China, not only because China is still in the tradition (shadow) of contemporary history. What is more important is that the uncertainties and contradictions in China now force people to return to anchor their place in contemporary history.
【作者單位】： 中國藝術(shù)研究院電影電視藝術(shù)研究所;
【分類號】：J905

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本文編號：2189153