新世纪中国大片的表意策略和叙事风格  

The Expression Strategy And the Narrative Style of Chinese Large Film

作　　者：刘郁琪[1] 

机构地区：[1]湖南科技大学湖南省方言与民俗文化研究基地,湖南湘潭411201

出　　处：《湖南城市学院学报》2011年第6期72-76,共5页Journal of Hunan City Univeristy

基　　金：湖南省教育厅科研立项课题(09C416);教育部人文社会科学研究青年基金立项课题(10YJCZH098)

摘　　要：新世纪以来,中国电影进入到前所未有的大片时代。这些大片是在中西方力量对比已然发生变动的全新文化处境中叙事的,呈现出明显的弥合东西方市场分裂的倾向。这种倾向在根本上决定了中国式大片的表意策略和叙事风格:一方面通过对古装宫廷和战争、武侠功夫打斗、民俗风物和地理山川景色等中国式元素和文化符号的二元性表现,既满足中国市场新的自我想象,同时又迎合西方市场有关中国的固有期待;另一方面则利用普适性的人性人道观念,将中西两个市场粘合得更为深刻和隐秘。China＇s movies had come to an unprecedented large films time since new century .Those Chinese large films started their narrations in a completely new cultrul background which the power balance between China and the West had changed, showing an obvious characteristic to sew up the cleavage between China and the West＇s markets. This is the most basic factor which decided the expression strategy and the narrative style of Chinese large films. On one hand, by means of using the dual character of Chinese cultural elements and symbols,these not only satisfied Chinese people＇s new imagination of themslves, but also catered to the west people＇s old imagination of China. On the other hand, by using the universal ideal of humanity, Chinese large film sewed up the China and the west＇s makets more profoudly and more secretly.

关 键 词：中国式大片 文化处境 表意策略 叙事风格 

分 类 号：I207.35[文学—中国文学]