景观、民族性与历史:基本电影和中国电影的民族化建构  

Landscape, Ethnicity and History: Basic Cinema and the Construction of Nationalization in Chinese Cinema

作　　者：丁亚平 贾艺华 Ding Yaping;Jia Yihua(Beijing Film Academy;Chinese Colleges and Universities Film and Television Society;Graduate School of China National Academy of Arts,Beijing,100029)

机构地区：[1]北京电影学院 [2]中国高校影视学会 [3]中国艺术研究院研究生院,北京100000

出　　处：《民族艺术研究》2024年第5期77-86,共10页Ethnic Art Studies

基　　金：2020年度国家社科基金艺术学重大项目“中国艺术文化传统在当代中国电影中的价值传承与创新发展研究”(项目批准号:20ZD18)的阶段性研究成果。

摘　　要：在中国电影百余年的发展历程中,“基本电影”是具有范式意义的影片。它满足公众需要、标示话语转换、进行价值重构,具有生命力、吸引力和感召力。由电影民族化书写回看这些影片,可以窥见“基本电影”是基于民族和历史“经验”而产生的一种能跨越时空向度、与大众对话的“超验”存在。在与“恋地情结”的心理机制和“乐感文化”的审美立场统一下,“基本电影”以民族景观为叙事空间,形成一套日渐成形的、不无民族本位色彩与历史意涵的叙事逻辑。“基本电影”的创作理念在成为中国电影创作基准的同时,也在当下产生“影响的焦虑”。由“基本电影”对标中国电影民族化书写,不难看出其建构与创新的重大意义。In the more than 100 years of development of Chinese cinema, “basic movie” is a movie with paradigmatic significance as it can satisfy the public's needs, mark discourse change, reconstruct values, and has vitality, attraction, and appeal. Looking back at these films from the nationalization of cinema, we can see that “basic cinema” is a kind of “transcendental existence” based on national and historical “experience” that can transcend time and space and talk with the public. Unified with the psychological mechanism of “topophilia” and the aesthetic stance of “pleasure culture”,“basic cinema” takes the national landscape as its narrative space, forming a set of gradually forming shape with its own national color and historical connotations. While “basic cinema” has become the benchmark for Chinese cinematic creation, it has also generated a certain “anxiety of influence” at the present time. It is not difficult to see the significance of the construction and innovation of the “basic cinema” when it is benchmarked against the nationalized writing of Chinese films.

关 键 词：基本电影 电影民族化 经验与超验 恋地情结 乐感文化 影响的焦虑 

分 类 号：J905[艺术—电影电视艺术]