论文部分内容阅读
2011年,“穿越”一词在电视和网络媒体上竞相绽放。因此,有人将中美影视剧的“穿越”现象作一对比:一个往前穿,一个往后穿,因为前者想不到未来,后者想不出历史。回到中国近年来的电影创作,这句话大致表述了两个事实:一方面,中国历史题材创作扎堆,其中又以大家耳熟能详的古典题材为主,仅以2011年为例,《战国》、《关云长》、《画壁》、《白蛇传说》、《鸿门宴传奇》、《杨门女将》等电影竞相上映;另一方面,中国故事的讲述缺乏想象力。中国故事在讲述中遭遇哪些尴尬?如何发掘新鲜的古典题材?中国故事能否成为世界故事?这些都是摆在电影创作者和产业投资家面前的现实问题。毕竟,“穿越”不难,难的是如何返回现实人间。
In 2011, the word “traversal” competed on television and online media. Therefore, some people make a contrast between the phenomenon of “crossing” in both Chinese and American film and television shows: one goes forward and the other backward because the former can not think of the future and the latter can not recall history. Returning to the movie making in China in recent years, this sentence roughly expresses two facts: On the one hand, the historical material in China has got together in a number of ways, including the classic themes familiar to everyone. Only in 2011, for example, the “Warring States, ”Guan Yunchang,“ ”Painting the Wall,“ ”White Snake Legend,“ ”Legend of the Banquet,“ ”Young Men“ and other films competing release; the other hand, the story of China’s lack of imagination. What embarrassment Chinese story encounters? How to discover fresh classical themes? Can Chinese stories become the world’s story? These are the realistic problems facing movie creators and industrial investors. After all, it is not hard to find ”crossing", but how difficult it is to return to reality.