从“新浪潮”到“后新浪潮”:香港电影表演的初始现代化  

From“New Wave”to“Post-New Wave”:The Initial Modernization of Hong Kong Film Performance

作　　者：王培雷 Wang Peilei

机构地区：[1]上海外国语大学贤达经济人文学院艺术与传媒学院

出　　处：《电影艺术》2023年第4期114-120,共7页Film Art

摘　　要：随着“新浪潮”电影的兴起,中国香港电影表演完成了对过往表演形态的美学反省,同时对港产片工业格局变化进行了主动调适。在此过程中,以“新浪潮”表演形态为代表的现代表演范式有效形塑了新一代中国香港电影演员的思维与行践路径。从“新浪潮”初期的纪实化表情到“后新浪潮”时代结合既有美学经验与商业类型电影表演实践的美学转向,“新浪潮”表演形态打通了中国香港电影表演现代化的初始路径,也奠定了其后港片工业深度融合明星吸引力与表演多元意涵的基础。With the rise of“New Wave”films,Hong Kong film performance completed the aesthetic reflection on past performance forms while actively adapting to the changes in the industrial structure of Hong Kong films.In the process,the modern performance paradigm represented by the“New Wave”performance form has effectively shaped the thinking and practice paths of the new generation of Hong Kong film actors.From the documentary expression in the early days of the“New Wave”to the aesthetic shift in the“post-New Wave”era that combines existing aesthetic experience and commercial film performance practices,the“New Wave”performance form has opened up the initial steps of the modernization of Hong Kong film performance.It also laid the foundation for the Hong Kong film industry to deeply integrate star appeal and multiple meanings of performance.

关 键 词：中国香港电影 表演形态 新浪潮 纪实化表情 

分 类 号：J912[艺术—电影电视艺术]