苦难·反正统·正统——从主旋律励志偶像剧的视角重审谢晋电影的大众性  

Suffering·Anti Orthodoxy·Orthodoxy——the New Explanation to Xiejin's Film from the Perspective of Inspirational Idol Drama

作　　者：包燕[1] 

机构地区：[1]浙江工业大学人文学院,杭州310023

出　　处：《浙江工商大学学报》2009年第3期48-52,共5页Journal of Zhejiang Gongshang University

基　　金：浙江文化研究工程(06WZT064);浙江省社会科学联合会重点课题(05Z34)阶段性研究成果

摘　　要：学者对谢晋电影的研究大多停留在对其政治伦理情节剧模式的阐释上。事实上,从更为深入的类型结构与接受心理的视角重审电影的大众性,谢晋电影尤其是其20世纪五六十年代和80年代的电影提供的正是属于其时代的主旋律励志偶像剧。这种偶像剧的内在结构呈现为:偶像的民间化与苦难化、偶像的超越性与正统性、偶像爱情的残缺性与理想性。谢晋的偶像剧电影的成功既迎合了不同时期的革命理想主义与感伤浪漫主义的时代氛围,也同时满足了民间社会普适价值的内在释放。the study on Xiejin＇s fills focuses on politics-ethics pattern for a long time. From a deeper angle of typological structure and accepting psychology, Xiejin＇s fills in 1950s, 1960s and 1980s actually provided mainstream encouraging idol drama for his times, which at last led to their popularity. The intrinsic structure of its idol drama includes misery and folk idol, transcend and orthodox idol, defective and ideal love of idol. On one hand, Xiejin＇s idol drama catered to atmosphere of revolutionary idealism and sentimental romanticism at different times; on the other hand, these fills helped release common values of folk society.

关 键 词：谢晋 大众性 主旋律 励志偶像剧 

分 类 号：I207.351[文学—中国文学]