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从比较《梅兰芳》与《三枪拍案惊奇》的人文内涵及影像叙事形态的视角,论述了当代中国电影发展的三个应然走向:在传统文化本体意义“道”的层面,致力于重构民族精神的影像叙事,而摒弃仅在传统文化“器”“用”层面的猎奇式影像移植;在资本强势的创作架构中,尊重并实现作为电影创构灵魂的导演的主体性及其赋予影像“内在意义”的权利;读图时代,电影不能仅沦落为“泛娱乐”的泡沫化的影像消费,而更应该成为于泛滥的视觉狂欢之中拯救大众心灵、实践现代美学精神的一种艺术载体。
From the perspective of comparing the humanistic connotations of “Mei Lan Fang” and “Three Stunned Surprises” with the narrative forms of images, this paper expounds the three evolutive trends of the contemporary Chinese film development: on the aspect of the traditional culture Devoted to reconstructing the image narrative of the national spirit and abandoning the novelty image transplantation only at the level of the traditional culture. In the powerful capital creative structure, we should respect and realize as the soul of film creation The subjectivity of the director and the power to give the image “intrinsic meaning”; in the era of image-reading, the film can not only be reduced to the bubble-like image consumption of “pan-entertainment” Save the public mind, practice the spirit of modern aesthetics of the art carrier.