21世纪以来中国战争电影的整体状况与发展趋势  

Overall Situation and Development Trend of Chinese War Films since the 21st Century

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》2023年第4期148-154,共7页Journal of Inner Mongolia Arts University

基　　金：国家社会科学基金艺术学一般项目“讲好中国故事:短视频国际传播实践及创新话语体系研究”(批准号:22BC053)系列研究论文;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。

摘　　要：21世纪以来,中国战争电影在反映古代战争和近代战争、展现旧民主主义革命和抗战正面战场、揭示南京大屠杀、讲述共产党敌后战场抗战、叙述国共两党内战、表现抗美援朝战争、展示新世纪的现代化战争等方面,取得突破性进展。这些影片所呈现的发展趋势表现为:用民族主义而非理想主义价值观塑造英雄形象,致力于凸显英雄人物复杂的性格,显得更加接近中国现实的“地气”;竭力对鏖战双方进行平视,对非正义一方不再进行妖魔化、丑化叙事;在传达主流意识形态的同时,比较尊重观众、市场,处理好电影商业美学与个人风格表达之间的关系。Since the 21st century,Chinese war films have made great breakthroughs with diversified themes,including ancient and modern wars,the battlefield of the old democratic revolution and the War of Resistance Against Japan,the Nanjing Massacre,the backstage battlefield of the Communist Party,the civil war between the Communist Party and the Kuomintang,the War to Resist US Aggression and Aid Korea,and the modernized war in the new century,etc.These films have demonstrated the following development trends:firstly,portraying the heroes with nationalistic rather than idealistic values to highlight the complex characters of heroes and make characters match the Chinese reality;secondly,taking a neutral stance between both sides in a war instead of demonizing and defaming the unjust side;thirdly,respecting the audience and the market while conveying mainstream ideology by seeking a balance between commercial aesthetics and the expression of personal style.

关 键 词：国家电影工业 平民代入法 大国形象 英雄主义 民族主义 

分 类 号：J90[艺术—电影电视艺术]