《抓娃娃》:消费文化语境下的喜剧生产与意义表达  

Successor:Comedy Production and Meaning Expression in the Context of Consumer Culture

作　　者：于帆[1] Yu Fan

机构地区：[1]北京电影学院文学系

出　　处：《电影艺术》2024年第5期72-75,共4页Film Art

摘　　要：开心麻花的品牌建设与喜剧电影生产是当下中国进入大众消费时代后最为典型的文化案例之一。《抓娃娃》的生产与消费逻辑迎合了消费文化需求:它以“电影宇宙”策略进行产品包装与品牌建设,以奇观化前提、狂欢化情节和景观符号消费完成喜剧性构建,为作品植入主流意识价值的社会想象。作为一次转型尝试,影片的题材开拓与类型惯例发生了冲突,其意义表达也与大众有着裂隙,这一创作探索为中国喜剧电影发展提供了启示。The brand establishment and comedic film production of Mahua FunAge is one of the most emblematic cultural cases in the wake of China's transition to an era dominated by mass consumerism.The logic of production and consumption of the film Successor aligns with the needs of consumer culture:it utilizes a“cinematic universe”strategy for product packaging and brand construction,and achieves comedic construction through the premise of spectacle,the plot of carnival,and the consumption of scenic symbols;it embeds a social imagination with mainstream ideological values into the narrative.As an attempt at transformation,the film's thematic exploration has clashed with genre conventions,and its expression of meaning has not achieved a consensus with the general public.This creative exploration offers enlightenment for the development of Chinese comedy films.

关 键 词：喜剧电影 消费文化 电影宇宙 喜剧性营构 社会想象师 

分 类 号：J905[艺术—电影电视艺术]