视界融合与陈凯歌版《赵氏孤儿》的文化冲突  

The Cultural Shock Between the Horizon Fusion and Chen Kaige's Film Sacrifice

作　　者：刘玉平[1] 

机构地区：[1]西华师范大学文学院,四川南充637009

出　　处：《西华师范大学学报（哲学社会科学版）》2012年第4期1-4,共4页Journal of China West Normal University:Philosophy & Social Sciences

基　　金：四川省哲学社会科学重点研究项目(SC11A004)

摘　　要：电影《赵氏孤儿》戏剧冲突的设置体现了陈凯歌的文化理念和审美取向,他不仅希望扩大的自我视界在历时性层面上成功地实现与前人视界的融合,还欲凭借现代艺术手段与公众传媒的力量去影响大众的理解和评判,从而在共时态的层面上达成更为广泛的视界融合。然而陈凯歌的艺术实践没有收到预期效果,在处理道义与人性的文化冲突时顾此失彼,力不从心,是其改编不算成功的主要原因。The dramatic conflict settings of Chen Kaige＇s film Sacrifice reflect his perspectives of culture and aesthetic. He not only hopes to expand the fusion of the self-horizon and the predecessors＇s horizon in diachronical dimensions, but also wants to impact the popular understanding and judgment by use of the modern art and mass media in order to obtain the broader horizon fusion in synchronical dimensions. However,Chen Kaige＇s adaption has not received the expected results. Dealing with the cultural conflict of morality and humanity incompetently and inadequately is the main reason that Chen Kaige＇s adaption is not very successful.

关 键 词：视界融合 赵氏孤儿 陈凯歌 文化冲突 

分 类 号：I235.1[文学—中国文学]