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文章将研究视角聚焦于新世纪中国少数民族电影批评的文本。通过分析发现,不同“场域”的电影批评差异在于:官方话语与学术话语侧重于电影的政治功能及其文化功能,但缺乏对其商业价值的考量;民间话语则关注影片的叙事功能。对于主旋律影片,民间话语常以反讽的态度对权力话语发起挑战,而对于“新主流”电影,民间话语和权力话语日渐趋同,这反过来促使电影创作者开始寻找影片在意义形态和商业价值上的平衡点。
The article focuses on the text of the criticism of the Chinese minority films in the new century from a research perspective. The analysis shows that the differences between the different film critics are that official discourse and academic discourse focus on the political function and cultural function of the movie, but lack of consideration of its commercial value; while private discourse focuses on the narrative function of the movie . For the main theme films, folk discourse often challenged the discourse of power with irony. For “new mainstream” films, the convergence of civil discourse and power discourse prompted filmmakers to start looking for films in the context of meaning and commerce Value point of balance.