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《魔窟中的幻想》一推出,首先便引起理论界的“正名”之争:这部影片究竟是儿童片的新开拓,是“准儿童片”,抑或不是儿童片? 不过,从影院出来,理论家们的种种判断和雄辩终究成为一片灰色。而影院大众(儿童与成人)对《幻想》的反应却令人沮丧。这沮丧又分明包容了大众的评价:这委实只是一次折翅的幻想。何以“折翅”?想来总存疑问:编导是否专注于作品风格样式的“非常规性”而忽略了一个极常规的问题:本片拍给谁看? 《幻想》以儿童的眼睛、视角看世界,按理应把儿童少年作为接受主体来确立。文艺心理学告诉我们,少年期以前的儿童观众的鉴赏活动,主要凭借审美直觉,他们因鉴赏而产生的自由联想.也多半依据其自身的感性信息储存。即使是少年观众,他们的理性信息储存和审美分析能力也很有限。《幻想》虽然表现
“The fantasy in the magic cave” was first introduced, which first aroused the “real name” controversy in the theoretical circle: Is this film a new development of children’s films, “quasi-children films” or children’s films? However, from the theater, The various judgments and eloquence of theorists eventually became a gray one. The cinema masses (children and adults) reacted to “fantasy” frustratingly. This frustration is clearly inclusive of the public’s assessment: This is really only a fantasy wings. How to “fold the wings”? Want to always ask: Do directors focus on the style of work style “unconventional” and ignore a very general question: Who is the film? “Fantasy” to children’s eyes, perspective In the world, it is reasonable that children and adolescents should be established as recipients. Literary psychology tells us that the adolescent viewing activities of children’s audiences mainly rely on aesthetic intuition and that they freely associate themselves with appreciation and store information mostly based on their own feelings. Even young audiences have limited ability to store their rational information and aesthetic analysis. Although “fantasy” performance