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作 者:贺幸辉[1]
出 处:《体育与科学》2017年第2期21-32,共12页Sports & Science
摘 要:21世纪以来,随着全球形势的变化,奥运官方电影进入到"后格林斯潘"时代,国际奥委会恢复了委托举办国摄制机构制作奥运官方电影的传统,从而开启了奥运官方电影创作的新时期。本文以"后格林斯潘时代"制作的三部奥运官方电影为研究对象,引入斯图尔特·霍尔的"表征"理论,深入探讨"后格林斯潘时代"奥运官方电影的影像建构特点。经研究发现,奥运官方电影从格林斯潘时代的"美国英雄主义故事模式"转变为"全球时代的自我体验模式"。在这种创作模式中,对奥林匹克精神的阐释从"宣扬英雄主义"到"关注个体的内在体验",在运动项目和运动员文化符号的选择上更加注重平等性、民族性和混杂性,男女运动项目的性别差异进一步被模糊化,移民群体得到重视。在美学表达上,从他者视角转变为第一人称的自我叙事。这些新的发展趋势为创作2022年北京—张家口冬奥会官方电影提供了有益的借鉴。In the 21st century, as the global situation changes, the Olympic official film has entered a new period called "post-- Greenspan". The IOC revived the tradition that delegating the filming institution of host country to make Olympic official films. Since then, the creation of Olympic official films has entered a new age. In this thesis, the three Olympic official films made in the "post--Greenspan age" are the objects of our study. We introduce Stuart Hall's "Representation" theory into the deep discussion a- bout the characteristics of image constructions of post--Greenspan Olympic official films. According to the study, the mode of O- lympic official films has changed from "American heroism stories" to "self--experience in global age". With this creating mode, the expression of Olympic spirit has changed from "heroism advocation" to "inner experience focusing on individuals" and the chosen of sport events and the cultural symbols of athletes paid more attention to the equality, nationality and hybridity. The sexual difference between male athletes and female athletes has been further fuzzified and the immigrant group has gained attention. In aesthetical ex- pression, it has changed from the on others angle of view to the first person's self--narration. These new trends of development pro- vide helpful reference for the creation of 2002 Beijing Zhangjiakou Winter Olympic official film.
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