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前言电影必须从市场角度思考问题,这在其诞生不久就提了出来。世界电影的中心从法国的万森转移到美国的好莱坞,梅里爱取代了卢米埃尔,格里菲斯又赢了梅里爱;及至这位美国电影先驱的名片《党同伐异》在商业上惨遭失败,终于留下一座无力拆毁的古城堡……这一切的背后有着一支无形的手——这就是市场,以票房价值体现出来的电影市场在发挥着影响。当电影日益成长为一门成熟的艺术和巨大的企业时,这支无形的手又时时表明着非凡的存在。有时它以沉默抗拒着黑暗政治对电影艺术的摧残,有时它又为反动势力推波助澜;有时它将偏离主线的电影之舟强行纳入艺术的航道,有时它又将极有价值的探索新潮导向商业化的浊流。它甚至影响到一个国家、一个民族电影的存在、发展及其风格、流派。你可以欢呼它、感激它或者诅咒它,但你却不能忽视它。在中国,当三十年代左翼电影运动兴起,五十年代概念化创作遭到惩罚,六、七十年代文革动乱的大起大落;这支无形的手就一再显示了伟力。而今天,当八十年代新潮导演的艺术探索面临观众冷遇的时候,当电影业在电视和多种文化娱乐的挑战下面临如何摆
Foreword The movie must think from a market perspective, which was brought up shortly after its birth. The center of world cinema moved from Vanson in France to Hollywood in the United States, Meri Love replaced Lumiere and Griffith won Merrie’s love again; and as the American film pioneer’s business card, “Party Confessions” failed commercially , Finally leaving an old castle that can not be demolished ... There is an invisible hand behind all this - this is the market, and the film market, which is represented by the box office value, has an impact. As the film grew into a mature art and a huge enterprise, this invisible hand has always shown extraordinary presence. Sometimes it uses silence to resist dark politics from devastating the art of cinema and sometimes it fuels reactionary forces; sometimes it forces filmsets off the mainline into the art fairytale, and sometimes it turns the valuable exploration of trendy commercialization Turbidity flow. It even affects the existence of a nation, a national film, its development and its genre. You can cheer it, appreciate it or curse it, but you can not ignore it. In China, when the left-wing film movement began in the 1930s and conceptual creation in the 1950s was punished, the turmoil in the 1960s and 1970s brought about a ups and downs of the Cultural Revolution. This invisible hand repeatedly demonstrated Wei Li. Today, when the exploration of the art of the 1980s trendy directors faces the cold of the audience, when the film industry is faced with the challenges of television and various cultural entertainment