中国古装大片的跨文化消费与视觉经验——以北美市场为样本  

Cross Cultural Consumption and Visual Experience of Chinese Costume Blockbusters—Take the North American Market as an Example

作　　者：陈林侠[1] Chen Linxia

机构地区：[1]中山大学中文系,广州510275

出　　处：《中州学刊》2021年第3期152-158,共7页Academic Journal of Zhongzhou

基　　金：国家社会科学基金重大项目“中国电影文化竞争力与海外动态数据库建设”(19ZDA271)。

摘　　要：古装大片是21世纪中国电影成熟最迅速的类型片,在海外跨文化消费的语境中,这类影片所提供的视觉奇观成为最具消费价值的内容,《英雄》《十面埋伏》爆发出惊人的市场号召力。但从2006年后,古装大片被市场过度消费,在海内外市场失去影响。究其原因,在于影片对视觉经验的认识存在误区。《满城尽带黄金甲》及其以后的古装大片,将重点放在服装、布景等传统的电影美术领域,忽视了数字技术对视觉经验富有想象力的开发,视觉经验迅速雷同、萎缩,具有本体性意义的视觉经验越来越少。当下中国古装大片需要借助数字技术发挥视觉想象力,开发出自身特殊的电影语言,回归叙事电影的正途,通过时间的连续性、认知心理的逻辑性、视线匹配的视点,“有序”地组织起本质上属于片段的视觉奇观。In the 21st century,costume blockbusters are the most rapidly mature type of Chinese films,with specific narrative program,image style and value orientation.Under the context of overseas cross-cultural consumption,visual spectacles of this kind of films are the most important elements which can attract the audience.The films Hero and House of Flying Daggers have exploded with amazing market appeal.However,since 2006,ancient costume blockbusters have been over-consumed by the market and lost their influence in domestic and overseas markets.The reason lies in the misunderstanding of visual experience in the films.Curse of the Golden Flower and its subsequent films focus on traditional cinematic art fields such as costumes and sets,while ignoring the imaginative development of visual experience by digital technology.As a result,visual experience rapidly resembles and shrines,and visual experience with ontological significance becomes less and less.At present,Chinese ancient costume blockbusters need to give play to their visual imagination with the help of digital technology,develop their own special film language,return to the right way of narrative film,and"orderly"organize visual wonders that are essentially fragments through the continuity of time,the logic of cognitive psychology,and the viewpoint of line of sight matching.

关 键 词：古装大片 奇观 叙事 视点 

分 类 号：J90[艺术—电影电视艺术]