复苏与重构:20世纪80至90年代中国电影中的乡贤形象  

Recovery and Reconstruction:The Image of the Country Sages in Chinese Films of the 1980s and 1990s

作　　者：邱其濛 李静[2] QIU Qi-meng;LI Jing(School of Liberal Arts,Nanjing University,Narnjing,Jiangsu 210023;Jiangsu Prouincial Federation of Humanities and Social Sciences,Nanjing,Jiangsu 21000)

机构地区：[1]南京大学文学院,江苏南京210023 [2]江苏省哲学社会科学界联合会,江苏南京210005

出　　处：《艺术百家》2020年第3期156-162,共7页Hundred Schools In Arts

基　　金：2019年度江苏省研究生科研与实践创新计划项目“乡村文化振兴与当代乡贤文化的影像建构”(项目编号:KYCX19_0024)阶段性成果之一。

摘　　要：1978年12月,党的十一届三中全会胜利召开,这标志着我国的社会结构发生了根本性转折。时代的变化带来了政治、经济、文化的全面改革,也带动了中国电影电视行业的复苏,中国电影电视业迈入了改革开放的新时期。在电影电视工作者们的共同努力下,中国电影电视产业经受住了各国文化浪潮的冲击,经过艰难的市场转型后,最终走上了迅猛发展的道路。而乡贤形象在电影作品中的影像呈现则进一步反映了社会转型期间传统与现代、城市与乡村在文化观念上的碰撞、纠结与矛盾。在经历了“迷茫”“反思”“重构”与“创新”等阶段后,乡贤形象逐渐复苏,并焕发出了新的活力,为新世纪新乡贤形象的重构打下了坚实的基础。In December 1978,the third Plenary Session of the 11 th CPC Central Committee was successfully held,which marked a fundamental turning point in the social structure of China. The changes of the times have brought about a comprehensive reform in politics,economy and culture,as well as the recovery of China’s film and television industry,which has entered a new era of reform and opening up. With the joint efforts of film and television workers,the Chinese film and television industry has withstood the impact of the cultural wave of various countries,and finally embarked on the road of rapid development after a difficult market transformation. The image of the country sages in the film works further reflects the collision,confusion and contradiction between tradition and modernity,urban and rural cultural concepts during the period of social transformation. After going through the stages of "confusion", "reflection", "reconstruction"and "innovation",image of the country sages gradually recovered and showed new vitality,which laid a solid foundation for the reconstruction of the image of the new sages in the new century.

关 键 词：乡贤 新乡贤 改革开放 中国电影 《被告山杠爷》 

分 类 号：J90[艺术—电影电视艺术]