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本期“独家论坛”的中心话题是“电影节与电影业的互动关系”。自1932年世界上第一个电影节———意大利威尼斯电影节举办以来,迄今为止全世界大大小小名目繁多的电影节有上千个。这些电影节构成了电影生态环境的重要部分。它们不仅在电影专业人员之间创造了交流探讨,推进电影美学发展的途径,也增加了电影、电影人与观众相互沟通的渠道,更使电影艺术成为世界不同文化间交流的使者。中国90年代开始举办电影节,与世界发达国家甚至与亚洲的韩国、日本、伊朗以及中国的台湾、香港地区相比,我们在利用电影节(包括国际电影节)的附加值方面是有差距的。随着中国“入世”的成功和中国电影在国际影坛地位的日益提升,如何使电影节尤其是国际电影节成为中国电影业良性发展的助力,如何通过国际电影节向世界人民介绍更多的中国电影和电影艺术家,使他们能够更加客观地了解中国的现实、历史与文化,是我们每一个电影工作者需要思考并身体力行的事情。本期“独家论坛”除了刊登三篇从理论角度对电影节进行文化分析的文章之外,我们还对8个国际电影节的主席就如下问题进行了专访或书面专访:如何理解不同文化国家(地区)和类型的影片在一起比赛的意义;如何看待“电影节”与电影艺术发展间的互动关系;新世纪的国际电影节如何应
This issue of “exclusive forum” is the central topic of “Film Festival and the interactive movie industry.” Since the first film festival in the world, the Venice Film Festival in Italy, was held in 1932, thousands of film festivals of all sizes, large and small, have hitherto been held in the world. These festivals constitute an important part of the movie’s ecological environment. They not only create communication between film professionals and promote the development of film aesthetics, but also increase the channels for film, film and audience to communicate with each other and make movie art more the messenger of intercultural exchanges in the world. China started to hold film festivals in the 1990s. Compared with the developed countries in the world and even with South Korea, Japan and Iran in Asia and Taiwan and Hong Kong in China, there is a gap between us in using the added value of the festival, including the International Film Festival . With the success of China’s accession to the WTO and the rising popularity of Chinese films in international cinema, how to make cinema festivals, especially international film festivals, helpful for the sound development of the Chinese film industry and how to introduce more people to the world through the International Film Festival? Chinese film and film artists, enabling them to understand China’s reality, history and culture more objectively, are something that every film worker needs to think about and act on. In this issue of “Exclusive Forum”, in addition to publishing three articles that theoretically analyzed cultural festivals, we also conducted interviews or written interviews with the chairpersons of eight international film festivals on the following issues: how to understand the cultural differences between different cultural countries Area) and type of film together; how to view the interaction between “Film Festival” and the development of film art; how should the International Film Festival in the new century