当代中国结构性变化中的中小成本电影  

Middle and Lower Budget Films in Contemporary Chinese Structural Changes

作　　者：饶曙光 

机构地区：[1]中国文联,北京100083

出　　处：《艺术百家》2016年第1期53-59,共7页Hundred Schools In Arts

摘　　要：大片与小片或是说中小成本电影,是电影创作与研究领域之中一对相互对立的概念,但同时这二者之间也是相互对应、相互依存的。大片及其中小成本电影是一个历时性的概念,其量化标准也是随着电影、尤其是电影产业及其规模的发展变化而不断调整的。面对大片和小片,或者说中国式大片与中小成本电影,中国电影人的认识经常性地陷入某种游移、矛盾乃至两极分化的状态。中小成本电影也有所谓类型片与文艺片的区分,人们往往更多地关注后者。差异化电影创作固然重要,但更重要的是全面推进差异化电影市场体系建设。中小成本电影也就是多样化电影,高概念电影一个也不能少,两手抓,两手都要硬,只有这样中国电影才能与好莱坞电影在长期的市场博弈中取得相对的主动权和更多的话语权,才能实现创新、协调、绿色、开放、共享发展,才能一步一步从电影大国走向电影强国。Blockbuster film and middle and lower budget film are mutually contradictory conceptions and they are depended upon one another. They are diachronic conceptions,since they are changing and continually adjusting with the development of film industry. Confronting blockbuster film and middle and lower budget film,Chinese film workers are often caught into a certain waving and polarizing situation. In middle and lower budget film,there are also genre film and literary film,and people prefer to attending to the latter. Although,differential film creation is significant,however,it is further important to comprehensively promote the systematic construction of film market. To create film with plural techniques and to pay attention to the creation of high concept film will help us to get a relative initiative and more speech right,and thus to actualize an innovative,harmonious,green,open,and sharing development so as to promote China to become a powerful film country.

关 键 词：电影艺术 中小成本电影 塔基 中国式大片 文艺片 高概念电影 差异化电影 差异化电影市场体系 

分 类 号：J90[艺术—电影电视艺术]