戏曲电影作为“跨媒介”艺术类型的认知反思与实践思考  

Cognitive Reflection and Practical Thinking on Opera Film as a “Transmedia” Art Type

作　　者：邵雯艳[1] Shao Wenyan

机构地区：[1]苏州大学文学院

出　　处：《电影艺术》2022年第5期54-59,共6页Film Art

基　　金：国家社科基金艺术学项目“新世纪以来历史题材纪录片‘中国特色’实践创新及美学建构研究”(批准号:19BC036)阶段性成果。

摘　　要：21世纪以来,在“新戏曲本位观”之下,戏曲电影的目标回归到记录、保护和传承。“跨媒介”理论针对不同媒介间的文本转换提出了新的可能,对忠实于原初文本的传统改编模式在理论上提出反思。以歌舞片为类型,参照戏曲电影建立起与戏曲相关又不完全相同的多重叙事体系,提供新的接受体验,比较相通于“跨媒介”多元实践的理念,在全球与本土、现代与传统的辩证对话中,有助于推进中国艺术原型及文化精神的绵延相传和认同流动。Since the 21st century, under the viewpoint of “new opera-centered standard”, the goal of opera films has returned to recording, protection and inheritance. The “transmedia” theory proposes new possibilities for the transformation of texts between different media, and proposes a theoretical reflection on the traditional adaptation mode that is faithful to the original text. The opera film has established a multiple narrative system related to but not identical to opera, providing a new experience of reception, which is more similar to the concept of multiple “ transmedia ” practices. In the dialectical dialogue between the global and the local, the modern and the traditional, it will be beneficial to strengthen the inheritance and identification of Chinese artistic prototype and cultural spirit.

关 键 词：戏曲电影 跨媒介 歌舞片 戏曲化 电影化 

分 类 号：J951.2[艺术—电影电视艺术]