电影工业美学原则与创作实现  

The Rise of Chinese “New Power” Directors and the Principle of “Aesthetics of Film Industry”

作　　者：陈旭光[1] 张立娜[1] 

机构地区：[1]北京大学艺术学院

出　　处：《电影艺术》2018年第1期99-105,共7页Film Art

摘　　要：新世纪以来,中国电影在电影观念、市场规模、产业链条、技术、营销等方面都发生了巨变,也涌现出了大批无论在票房还是口碑上都有亮眼表现的"新力量"导演。他们虽然表现各不相同,但生存语境是一样的。他们所历练、实践和完成的"观念"变革也有着极大的共性。面对新业态和新语境,新导演们在电影观念和电影实践上的共同特点是遵循某种"工业美学"原则:秉承电影产业观念,类型生产原则,游走于电影工业生产的体制之内,最大程度地平衡电影的"艺术性"和"商业性"、体制性与作者性等关系,追求电影美学效益和经济效益的统一。Since the new millenium, Chinese cinema has been undergoing tremendous changes in terms of the idea of cinema, market scale, industrial chain, technologies and marketing. A large number of directors have emerged as the ＂New Power＂, who succeed both in box office revenue and in word of mouth, Within the same context and circumstances, they have experienced the evolution of ＂idea＂Dpracticing diversity and ending up in great commonalities. Faced with new formats and new contexts, these new directors share the common characteristics of the idea of cinema and practice under a specific set principles of ＂industrial aesthetics＂： adhering to the idea of the film industry and the principle of genre production within the system of film production, oscillating between the ＂artistic＂ auteurism and ＂commercial＂ institutionalism to a large extent, and achieving the balance between film aesthetics and commerciality.

关 键 词：电影工业美学 电影观念 类型 体制 制片人中心制 

分 类 号：J901[艺术—电影电视艺术]