互文性、三角对话、融合性:新时代中国戏曲电影的发展及困境——以第三届中国戏曲电影展为主  

Intertextuality, Triangular Dialogue, Integration: The Development and Dilemmas of Contemporary Chinese Opera Film: Taking the Third Chinese Opera Film Festival as an Example

作　　者：吕茹[1] LYU Ru(College of Arts,Communication University of Zhejiang,Hangzhou 310018)

机构地区：[1]浙江传媒学院文学院,杭州310018

出　　处：《文化艺术研究》2021年第6期80-87,115,共9页Studies in Culture and Art

基　　金：国家社科基金艺术学重大项目“中国戏曲历史题材创作研究”(项目编号:20ZD23)与国家社科基金艺术学项目“近代广告传媒视域下海派戏剧的崛起”(项目编号:20200218)的阶段性成果之一。

摘　　要：2010年以来,随着国家舞台艺术精品战略机制的进一步推行,中国戏曲电影在不断提升质量的同时,数量也呈攀升之势。不过,由于多媒体时代大众审美的多元化及其自身美学范式的独特性,戏曲电影的未来发展也将面临更为复杂的困境。从第三届中国戏曲电影展来看,虽然这些参展作品在叙事文本的互文性表达、电影语言的个性化演绎、写实与写意美学风格的融合性呈现等方面取得了明显的成就,但是因叙事的同质化、导演处理局限于演员与观众之间、写实与写意美学风格的间离等原因,未来中国戏曲电影或将陷入无法满足多数当代观众审美需求的困境。综合来看,建立适用于戏曲电影文本的独特叙事话语体系,提升电影导演关于戏曲电影制作的话语权,遵循写实与写意平衡的原则,这既是未来戏曲电影制作的方向,也是摆脱困境的良策。Since 2010, with the implementation of the national strategy of enhancing the quality of stage arts, Chinese opera film has been improving both its quality and quantity. However, the tastes of the public are diverse, the aesthetics of Chinese opera film distinct, and the future development of Chinese opera film facing complex challenges. Taking the Third Chinese Opera Film Festival as an example: Chinese opera film is making great progress in terms of intertextual narrative, unique film language, the fusion of the realistic and the stylistic, yet due to homogenized narrative, the director’s treatment of the relationship between actors and audience, and the distance between the realistic and the stylistic, it still only fits a niche in the contemporary film market. In general, establishing a unique narrative system, letting directors have their say, and balancing the realistic and the stylistic are the direction and solution for the future Chinese opera film.

关 键 词：戏曲电影 互文性 三角对话 融合性 

分 类 号：J951.2[艺术—电影电视艺术]