新版《画皮》:中国恐怖电影的审美转向  

The New Version of Painted Skin: A Turning Point in the Development of the Chinese Horror Movie's Aesthetics

作　　者：管红星[1] 蒋昕臻[1] 

机构地区：[1]南京师范大学文学院,江苏南京210097

出　　处：《南京师范大学文学院学报》2009年第3期129-134,共6页Journal of School of Chinese Language and Culture Nanjing Normal University

摘　　要：新版《画皮》的出现打破了中国恐怖片多年的沉寂,它以强烈的本土意识和浓厚的现代意识完成了对中国恐怖电影审美内容上的转向,以对经典的回归与表现的唯美完成了中国恐怖电影审美形式上的转向,在社会意义及视听效果的同步追求中实现了中国恐怖电影一次华丽的转身。The latest version of Painted Skin has ended the multi-decade long slumber of the Chinese horror movie.With its deep native consciousness and profoundly modernistic narrative structure,it turns out to be a turning point in the development of the content of the Chinese horror movie s aesthetics.Besides,as it turns back to reenact a classic and strives to embody aestheticism,the movie also becomes the indicator for the change of the form of the Chinese Horror Movie s Aesthetics.The new version of Painted Skin,in its effort to get across a clear social meaning and produce best - possible audio - visual effect, unmistakably signals the transformation of the Chinese horror movie.

关 键 词：《画皮》 恐怖电影 转向 

分 类 号：J905[艺术—电影电视艺术]