戏曲故事片创作的跨媒介趋势  

Cross-media Trends in Opera Movie Creation

作　　者：谢建华[1,2] XIE Jian-hua(Advanced Innovation Center For Future Visual Entertainment,Beijing Film Academy,Beijing 100088;College of Movie and Media,Sichuan Normal University,Chengdu,Sichuan 610066)

机构地区：[1]北京电影学院未来影像高精尖创新中心,北京100088 [2]四川师范大学影视与传媒学院,四川成都610068

出　　处：《艺术百家》2021年第2期101-107,共7页Hundred Schools In Arts

基　　金：2014年度国家人文社科基金艺术学重大项目“戏曲艺术当代发展路径研究”(项目编号:14ZD01)阶段性成果之一。

摘　　要：作为电影介入戏曲的最高形式,戏曲故事片一直将融合作为美学最高典范,其创作始终绕不开戏与影、事与情、唱与演等一系列二元关系的处理。在经历了草率组合、反差介面两个阶段后,当代创作者尝试让"戏""影"在跨媒介艺术框架内协作叙事,每一种媒介元素在叙事中各司其职、各尽其用,以创造一个具有新媒体语言和丰富叙事体验的超级艺术形式。As the highest form of film involved in opera,Opera Movie has always taken fusion as the paradigm of aesthetics.Its creation has always been indispensable to deal with a series of binary relations such as opera and film,events and emotions,singing and acting.After going through two stages of hastily combining and contrasting interface,Contemporary directors try to make"opera"and"film"collaborate in narrative within the framework of cross—media art.Each media element fulfills its role in the narrative,to create a super art form with a new media language and rich narrative experience.

关 键 词：戏曲故事片 融合 介面 跨媒体 

分 类 号：J80[艺术—戏剧戏曲]