论中国电影的新历史主义叙事  

On the Narration of New historicism in Chinese films

作　　者：储双月[1] CHU Shuangyue(Film and Television Research Institute,Chinese Academy of Arts,Beijing,100012)

机构地区：[1]中国艺术研究院电影电视研究所,北京100012

出　　处：《内蒙古艺术学院学报》2022年第1期74-79,共6页Journal of Inner Mongolia Arts University

基　　金：浙江省高校重大人文社科项目公关计划规划重点项目“文化产业的演化机制、政策优化与创新战略研究”(项目编号:2016GH015)的阶段性研究成果;2013年度国家社会科学基金艺术学重大项目《中国电影海外市场竞争策略可行性研究》(批准号:13ZD02)的系列研究论文。

摘　　要：迥然有别于“十七年”时期以人民群众为历史主角并以歌颂其政治素质和政治觉悟为主旨的革命历史叙事,中国电影的新历史主义叙事在描叙历史人物的行为动机和探源历史真相的时候,不是去反复验证铁定的规律,而是竭力去揭示人与世界之间最初始、最终极、最深刻的本能联系,并以此作为建构历史世界的结构与秩序的尺度和眼光。新历史主义叙事把整齐划一的宏大历史撕裂,以喧嚣浮躁、日常世俗的动机和欲望贯穿始终,颠覆和消解了以往革命历史电影对社会历史发展规律和本质的演绎,给人以分裂和断裂之感。Quite different from the revolutionary historical narration in the"Seventeen Years"period,which took the people as the historical protagonist and praised their political quality and political consciousness as the theme,the new historicism narration in Chinese films is not to repeatedly verify the irrefutable rules when describing the behavior motivation of historical figures and exploring the historical truth.Instead,it tries to reveal the most initial,ultimate and profound instinctive connection between man and the world,and takes this as the yardstick and vision to construct the structure and order of the historical world.The narrative of new historicism tears the uniform grand history and runs through it with noisy and impetuous,daily and secular motives and desires,subverting and dispelling the interpretation of the law and nature of social and historical development in the previous revolutionary historical films,giving people a sense of division and rupture.

关 键 词：新历史主义叙事 家族历史叙事 民间立场 人性逻辑 权谋文化 

分 类 号：J905[艺术—电影电视艺术]