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3.《电影新作》《电影新作》1991年开辟“电影新视野”,此栏目旨在反映上海电影理论界的研究成果。《新时期电影的美学创新》(王钧,第1期)认为,新时期电影的美学发展大致经历了四个阶段:技巧美学阶段——冲出“围城”;纪实美学阶段——返朴归真;符号美学阶段——放射自我;综合美学阶段——崭新天地。《现实主义的开拓与深化》(陈同艺,第2期)认为新时期电影中的现实主义较之“文革”前十七年有不少变化:深刻地反映改革开放的时代;细腻地刻划有性格特征的人物;现实主义电影的纪实风格。《试论电影的接受》(钱国民,第3期)认为,电影理论应向跛足型告别。过去的跛足是将电影理论看成创作理论,现在的跛足是对于电影某种功能的
3. “New movie” “New movie” Opened in 1991 “new horizons of film”, this column aims to reflect the Shanghai movie theorists of research results. “The Aesthetic Innovation of the New Period Movies” (Wang Jun, No. 1) argues that the aesthetics development of the film in the new era has gone through roughly four stages: the stage of technical aesthetics - out of the siege of the city; the stage of documentary aesthetics - Symbolic Aesthetics - Egoism; Synthetic Aesthetics - A New World. Realism’s Pioneering and Deepening (Chen Tongyi, No. 2) argues that realism in the film in the new period has made a lot of changes compared with those in the first seventeen years of the Cultural Revolution: profoundly reflecting the era of reform and opening up; Personality traits; realism film documentary style. “On Film Acceptance” (Qian Guomin, No. 3) argues that movie theory should bid farewell to lameness. Past lameness is the theory of the movie as a theory of creation, the current lameness is for the film a certain function