跨界与融合:拉美电影的空间生产与社会建构  

Crossover and Integration: The Space Production and Social Construction of Latin American Films

作　　者：高红岩[1] Gao Hongyan

机构地区：[1]北京交通大学经济管理学院

出　　处：《电影艺术》2020年第2期19-24,共6页Film Art

摘　　要：拉美各国电影基于丰富的社会文化资源,以其类型的多样化和风格的特异性,一直坚守对社会问题的关注,以社会矛盾作为其创意之源,呈现出跨界融合的特征。在内容上,以旅行、流浪、偷渡等跨界题材为代表,展现特定政治和社会环境下大众面临的压力和无助,同时也强调个体不屈服于命运安排的主动抗争;在生产方式上,以跨媒介、跨国和跨产业合作与融合为主要传播策略,通过新的空间生产和社会建构,探索如何弥合其长期面临的政治分裂与社会文化冲突。Based on complex and diverse social and cultural resources, films from Latin American countries have won awards in various film festivals and continuously created domestic box office success with their colorful genres and special styles. Latin American films have always been focusing on social issues, taking social conflicts as the source of their creativity and presenting the characteristics of crossover and integration. In terms of content and themes, they mainly focus on cross-border activities such as travel, vagrancy and smuggling to show the pressure and helplessness faced by the public and the active resistance of individuals who do not give in to fate under specific political and social circumstances. In terms of production modes, they are characterized by cross-media, cross-industry and cross-country cooperation and integration, so as to continuously explore how to bridge the political division and social and cultural conflicts that they have long faced, and enhance their influence on economy, society and culture through new spatial production and social construction.

关 键 词：跨界 融合 拉美电影 空间生产 社会建构 

分 类 号：J905[艺术—电影电视艺术]