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“电影作为艺术,究竟应该成为创作者自我表现的载体,还是大众文化传播媒介?”这个攸关电影盛衰存亡的命题,几乎成了近年影界最争执不下最为灼人的热点。根据广播影视部电影局的内参数字统计:一九八七年,中国电影观众总人次再一次骤降到历史最低值——二百一十亿! 根据中国电影发行放映公司的统计数字表明:全国十六家故事片厂每年生产的一百三十部影片中,制作费用与放映收入成逆差的影片高达百部;勉强保本的不足二十部,盈利的仅十部左右! 电影经济的不景气迫使人们更多地转向对电影商品属性的关注。然而社会大体制制约下的中国电影经济体制,如同“马特利奥盲点”,被人们轻易地忽略了!迄今为止,我们尚缺少研究电影经济宏观控制的专家。
“As an art, should art be the carrier of creator’s self-expression or the media of mass culture?” This proposition, which is of great significance to the rise and fall of the film, has become almost the most scorching hot spot in the world in recent years. According to the statistics of the internal parameters of the Film and Television Bureau of the Radio, Film and Television Bureau: In 1987, the total number of Chinese moviegoers plunged to the lowest level ever again - 21 billion yuan. According to statistics released by China Film Distribution and Display Company, Of the 130 films produced by each of the 16 feature film studios, there are as many as 100 films whose costs are in inverse proportion to their projected revenues. Only barely 20 films can be guaranteed and only about 10 of them make profits. The downturn of the cinema economy has forced People are turning more attention to the attributes of movie goods. However, the system of the Chinese film economy under the restriction of the social system is as easily overlooked as the “Matt Leo Blind Spot”! So far, we lack experts who study the macro-control of the movie economy.