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中央戏剧学院影视系剧作老师倪骏,是中国编剧圈子里某大类的一个典型代表:任教于影视院校、教学与创作兼顾,不但在课堂上传授理论,也以课堂外的创作做出示范,而带领学生们入行更是他们的要务。相比起产业规模更大、经济回报更可靠的电视,已经创作了几百集电视剧的倪骏并不讳言创作电影是她的某种“终极理想”。这种情绪并非个案,然而无论工作机遇或者待遇保障,粗陋低级的中国电视都远远优于中国电影。其后果就是,过高的进入门槛和过高的机会成本,导致了中国电影在缺剧本缺编剧的同时,大量外围的、潜在的资源只会选择回避,于是,倪骏们的艺术理想往往被经济理性所击败。
Ni Jun, a drama teacher in the Department of Film and Television of the Central Academy of Drama, is a typical representative of a major category in the Chinese screenwriter circle: teaching in film and television schools and taking into consideration both teaching and creative writing not only in the classroom but also in the classroom Demonstration, but to lead students into the line is their priority. Ni Jun, who has created hundreds of episodes of TV series, does not deny that creating a movie is one of her “ultimate ideals ” compared to the more industrial scale and more reliable television. This sentiment is not the case, however, regardless of job opportunities or treatment security, rough low-level Chinese television are far better than Chinese films. The consequence is that too high barriers to entry and high opportunity costs have led Chinese films to lack screenplay and a large number of peripheral and potential resources to choose only to avoid. As a result, Ni Jun’s artistic ideals are often Economic rationality defeated.