论改革开放四十年国产重大革命历史题材电影的审美流变——基于对“南昌建军”题材的创作分析
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摘要
"八一建军"是"英雄城"南昌最重要的当代历史文化名片,也是共和国创建史上的重要事件。自上个世纪80年代初改革开放新时期以来直到改革开放步入新时代,关于"南昌建军"的重大革命历史题材影片创作一直是当代国产"主旋律"电影创作的一个亮点和热点,从《南昌起义》(1981)到《八月一日》(2007),再到《建军大业》(2017),透过三部同样取材于"建军"题材的电影作品在创作观念、创制手法和艺术风格上的变化,得以在一定程度上管窥当代中国"主旋律"电影的美学嬗变和文艺学视野中的大众文化传播与接受心理。
"The founding of the PLA on August 1st"is not only the most significant visiting card of the contemporary history and culture of Nanchang,but also an important event in the history of the founding of the People's Republic of China. Since the beginning of the 1980 s,the reform and opening up has stepped into a new era. The major revolutionary and historical theme of the "founding of the PLA in Nanchang"has always been a bright spot and hot topic in contemporary domestic "main-melody" films. Nanchang Uprising( 1981),August 1( 2007) and The Founding of an Army( 2017)are all originated from the theme of the "founding of the PLA". By analyzing the evolution in creative concepts,creative techniques and artistic styles of these three films mentioned above,we can explore to some extent the transmutation of aesthetics of Chinese contemporary "main-melody"films,and the mass communication of culture and receptive psychology in the field of literature and art.
"The founding of the PLA on August 1st"is not only the most significant visiting card of the contemporary history and culture of Nanchang,but also an important event in the history of the founding of the People's Republic of China. Since the beginning of the 1980 s,the reform and opening up has stepped into a new era. The major revolutionary and historical theme of the "founding of the PLA in Nanchang"has always been a bright spot and hot topic in contemporary domestic "main-melody" films. Nanchang Uprising( 1981),August 1( 2007) and The Founding of an Army( 2017)are all originated from the theme of the "founding of the PLA". By analyzing the evolution in creative concepts,creative techniques and artistic styles of these three films mentioned above,we can explore to some extent the transmutation of aesthetics of Chinese contemporary "main-melody"films,and the mass communication of culture and receptive psychology in the field of literature and art.
引文
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[7]包磊.20世纪90年代以来中国类型电影的理论与实践[J].当代电影,2017,(8):60.
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[10][德]黑格尔.美学[M].北京:商务印书馆,1979.
[2]李道新.中国电影文化史(1905-2004)[M].北京:北京大学出版社,2005.
[3][美]詹明信(Fredric·Jameson).晚期资本主义的文化逻辑[M].北京:三联书店,1997.
[4]李锦云.“八一”军事电影的品牌研究[M].北京:北京大学出版社,2010.
[5]朱宁嘉.艺术与救赎:本雅明艺术理论研究[M].上海:上海人民出版社,2009.
[6]沈鲁.论国产主旋律电影创作的“新常态”[J].江西社会科学,2018,(5):248.
[7]包磊.20世纪90年代以来中国类型电影的理论与实践[J].当代电影,2017,(8):60.
[8][英]理查德·戴尔.明星[M].北京:北京大学出版社,2010.
[9][法]莫里斯·哈布瓦赫.论集体记忆[M].上海:上海人民出版社,2002.
[10][德]黑格尔.美学[M].北京:商务印书馆,1979.