中国电影的民族文化与审美意境分析——以电影《白鹿原》中的戏曲元素为例  

The Analysis of National Culture and the Aesthetic Conception of Chinese Film: Drama elements in the film White Deer Plain as an example

作　　者：陈正奇[1] 罗永平[2] 

机构地区：[1]西安文理学院长安历史文化研究中心,西安710065 [2]四川大学文学与新闻学院,成都610064

出　　处：《唐都学刊》2013年第5期58-61,共4页Tangdu Journal

摘　　要：面对当下"娱乐化"与"高科技"相争衡的电影生存环境,电影《白鹿原》对戏曲艺术的回归再次唤醒了民族文化审美的强大生命力,成为中国电影的"重头戏"。作为民族电影的重要基石,民族文化符号历来备受中国导演的钟爱,而导演王全安在电影《白鹿原》中对戏曲元素的多重审美关照,使陷入困境的中国电影的民族化探索道路上迈开了可喜的一步,为中国电影艺术注入了鲜活的民族印记。Facing the competition between the entertainment and the high - teeh, the film ＂ White Deer Plain＂ reawakened the strong vitality of the national culture aesthetic by the return of the drama art, and has become the ＂Highlight＂ of the Chinese film. As an important cornerstone of national films, national culture symbol always loved by the Chinese director. The multiple aesthetic care about drama elements by the Director Wang Quan - an in the film, takes a promising step for exploring the nationalization of Chi- nese movie, and marks a fresh national imprint of Chinese movie.

关 键 词：白鹿原 民族文化 审美意境 戏曲元素 

分 类 号：J905[艺术—电影电视艺术]