80年代现实主义电影的现代化改造  

The Modernization Reform of the Realistic Film of 1980s

作　　者：周小玲[1] 

机构地区：[1]上海社会科学院<社会科学>杂志,上海200020

出　　处：《辽宁大学学报（哲学社会科学版）》2014年第4期142-147,共6页Journal of Liaoning University(Philosophy and Social Sciences Edition)

基　　金：上海市第三期重点学科项目"中国电影批评史研究"(S30103)

摘　　要：80年代,在"新启蒙"思潮的影响下,一部分视启蒙为己任的电影人士主张从西方电影理论中寻找可供借鉴的资源,他们试图引入西方的纪实美学、"现代派""非戏剧化"来实现中国传统的现实主义电影的现代化。他们有意识地将西方理论资源的借鉴限定在形式上,试图通过形式上的反叛来校正电影创作所负载的过重的意识形态,从而摆脱政治对电影的控制。"新时期"电影表现形式的种种创新要求,其实质都是追求启蒙的电影人士的政治诉求在电影批评中的隐性表达。In the 1980s, a group of film makers influenced by the thoughts of Neo-enlightenment asserted to draw lessons from the western film theories, and they attempted to bring in documentary aesthetics, Modernist School, Non-dramatic in the west world to modernize traditional Chinese film art. They deliberately used those theories on the form, yet not context. They tried to reduce the overwhelming ideology burden and rescue film art from political domination via overthrowing the old form. The substance of various inventory demands of the New Era film form is the subtle expression of the enlightenment film makers＇ political proposal in the film critiques.

关 键 词：80年代 现实主义 现代派 纪实美学 非戏剧化 

分 类 号：J902[艺术—电影电视艺术]