武侠电影的受众分析、文化审视与创作思辨
|
摘要
曾经一度被视作中国最有代表性的类型片种的武侠电影,经历了近百年的发展历程。"国人对特定历史时期国力不足的内心补偿""国家强盛后对民族自尊心的弘扬"以及"对积郁情绪的宣泄"这三点共同构成了华语武侠电影一度兴盛的心理原因。但现如今华语武侠电影遭遇了创作瓶颈,文章从"武侠片兴盛的受众心理""对受众心理的审美批判"和"对武侠片类型价值的重新挖掘""武侠片未来的创作思辨"等几个方面,对武侠电影的历史与现状进行分析,以期对武侠电影未来的健康发展提出有价值的参考建议。
Once considered the most representative type of movies in China, martial arts movies have undergone nearly a hundred years of development. The psychological reasons for the prosperity of Chinese martial arts movies can be attributed to the internal compensation for the lack of national strength in a particular historical period, the promotion of national self-esteem after the prosperity of the country and the release of depression. However, Chinese martial arts movies encounters creating bottlenecks nowadays. This paper analyzes the history and current situation of Chinese martial arts movies from the following aspects:the audience psychology for its prosperity, the aesthetic criticism of the audience psychology, the reexcavation of its type value, and the future creating speculation in the hope of providing valuable reference for the healthy development of martial arts movies in the future.
Once considered the most representative type of movies in China, martial arts movies have undergone nearly a hundred years of development. The psychological reasons for the prosperity of Chinese martial arts movies can be attributed to the internal compensation for the lack of national strength in a particular historical period, the promotion of national self-esteem after the prosperity of the country and the release of depression. However, Chinese martial arts movies encounters creating bottlenecks nowadays. This paper analyzes the history and current situation of Chinese martial arts movies from the following aspects:the audience psychology for its prosperity, the aesthetic criticism of the audience psychology, the reexcavation of its type value, and the future creating speculation in the hope of providing valuable reference for the healthy development of martial arts movies in the future.
引文
[1]王立.武侠文化通论续编[M].北京:人民出版社,2011.
[2]刘辉.香港的中国:邵氏电影[M].香港:牛津大学出版社中国有限公司,2008.
[3]张伟雄.当代武侠电影的域境论述[M].香港:香港电影评论学会,2002.
[4]罗伯特·麦基.故事:材质、结构、风格和银幕剧作的原理[M].天津:天津人民出版社,2014.
[5]张力.功夫片的秘密[M].北京:世界图书出版公司,2012.
[6]索亚斌.香港动作片的美学风格[M].北京:中国传媒大学出版社,2010.
[7]贾磊磊.武之舞:中国武侠电影的形态与神魂[M].河南:河南人民出版社,1998.
[8]黎华.影视武打动作技能[M].北京:中国电影出版社,2001.
[9]史蒂文·卡茨.场面调度:影像的运动[M].北京:北京联合出版公司,2015.
[10]史蒂文·卡茨.电影镜头设计[M].北京:北京联合出版公司,2015.
[11]张燕.跨世纪定格:香港电影100年[M].北京:中国电影出版社,2014.
[2]刘辉.香港的中国:邵氏电影[M].香港:牛津大学出版社中国有限公司,2008.
[3]张伟雄.当代武侠电影的域境论述[M].香港:香港电影评论学会,2002.
[4]罗伯特·麦基.故事:材质、结构、风格和银幕剧作的原理[M].天津:天津人民出版社,2014.
[5]张力.功夫片的秘密[M].北京:世界图书出版公司,2012.
[6]索亚斌.香港动作片的美学风格[M].北京:中国传媒大学出版社,2010.
[7]贾磊磊.武之舞:中国武侠电影的形态与神魂[M].河南:河南人民出版社,1998.
[8]黎华.影视武打动作技能[M].北京:中国电影出版社,2001.
[9]史蒂文·卡茨.场面调度:影像的运动[M].北京:北京联合出版公司,2015.
[10]史蒂文·卡茨.电影镜头设计[M].北京:北京联合出版公司,2015.
[11]张燕.跨世纪定格:香港电影100年[M].北京:中国电影出版社,2014.