当代中国银幕爱情叙事的历时性分析——从国家到市场的转向  

A Longitudinal Analysis of Narratives of Love in Chinese Movies:A Turn from State Orientation to Market Orientation

作　　者：周培勤[1] 

机构地区：[1]南京大学社会学院

出　　处：《社会科学》2015年第6期175-184,共10页Journal of Social Sciences

基　　金：国家社科基金项目"社会转型与大众文化消费的变迁调查研究"(项目编号:11CSH033)的阶段性成果

摘　　要：爱情是文艺作品的永恒母题。但爱情是社会性的产物,同时文艺作品的爱情叙事受到文艺政策左右,最终所再现的爱情是对社会变迁的映照。对1949年至1966年的十七年时期的红色电影、1978年开始的新时期伤痕电影和2003年中国电影产业化以来的档期电影进行历时性分析,可以充分了解中国当代银幕上的爱情叙事变迁及背后的政策性因素。研究发现,中国银幕上的爱情叙事在过去六十年间在总体上发生了从国家向市场的转向。Love is one of eternal themes of literature and art. Meanwhile, love is always a product of certain society, and love represented by artistic work has constantly being shaped China. So love represented by artistic work accordingly reflects social changes by state policies in This study analyzes movies produced in three periods of time in order to identify changes among narratives of love presented by big screen and illuminate policy factors that have caused those changes in the past sixty years. These movies can be categorized into three types ： （ 1 ） red movies produced within 17 years from 1949 to 1966 ; （2） scar movies produced since 1978 and （3） season movies produced since 2003 when the process of the industrialization of China＇s film was launched. The analysis reveals that the narratives of love have transformed from being state-oriented to market-oriented.

关 键 词：爱情 红色电影 伤痕电影 档期电影 市场 

分 类 号：J972.7[艺术—电影电视艺术]