中国电影史链条上的主旋律电影及其未来走向  

The Mainstream Films in Chinese Film History and Its Future

作　　者：彭涛[1] 

机构地区：[1]华中师范大学信息与新闻传播学院,湖北武汉430079

出　　处：《华中师范大学学报（人文社会科学版）》2013年第2期100-106,共7页Journal of Central China Normal University:Humanities and Social Sciences

基　　金：中央高校基本科研业务费项目"主旋律电影的发生与转型研究"(120002040494);"影视文化产业发展与国家文化影响力研究"(120002040702)

摘　　要："主旋律"口号提出的初衷,是基于对异质性价值的疑虑或者排斥,是主流意识形态对其领地日渐收缩的一种"应激反应"。主旋律电影与中国电影史链条上各相关时期的电影既有承继关系,也有明显差异。它们的共同之处是作为主流意识形态重要载体的功能始终未变。主旋律电影在坚守自身价值范畴的同时,也兼容、挪用了一些其他非主流意识形态的价值范畴,其内涵在扩展、丰富,疆界在拓宽。如果主旋律电影走向一种融合了传统价值和现代价值,本土价值和外来价值的文化,它就有可能创造出一种具有广泛文化辐射力的"共同文化",主旋律电影也因此会走上一条前景更广阔的道路。The original intention for proposing the slogan of ＂mainstream＂ was based on the doubts or rejection of the heterogeneity value, which was a kind of ＂stress response＂ of the mainstream ideology to its increasingly contracted territory. Mainstream films have partly inherited the traditional films, but there are obvious differences. What they have in common is that, the function of an important carrier of the mainstream ideology has never changed. While sticking to their own value category, the mainstream films are also compatible with value categories of some other non-mainstream ideology, with its connotation expanding and its boundary broadening. If the mainstream films develop to a kind of culture with the integration between traditional and modern values, and the in- tegration between national and universal values, then it is possible for the mainstream films to create a ＂common culture＂ with universal influence, and therefore to proceed a brighter prospect.

关 键 词：主旋律电影 中国电影史 左翼电影 十七年电影 共同文化 

分 类 号：J909.2[艺术—电影电视艺术]