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作 者:赵卫防[1,2] 关永明 Zhao Weifang;Guan Yongming(Film and Television Research Institute of China Academy of Art;China Film Critics Society;Department of Cinematography,Beijing,100000)
机构地区:[1]中国艺术研究院电影电视研究所 [2]中国电影评论学会 [3]北京电影学院摄影系,北京100000
出 处:《民族艺术研究》2025年第1期52-58,共7页Ethnic Art Studies
摘 要:“华语电影”不是一个纯粹的语言学层面上的概念,而是一个共同体意义上的概念。“华语电影”中的共同体概念,是指中国内地(大陆)、港澳台地区和海外华语地区所拍摄的电影的同质性。正是具备了这种同质性,这些电影才形成了共同体,进而形成了统一的“华语电影”。这种同质性不仅包括语言的同质,还包括政治、经济、文化、美学等方面的同质。共同体视阈下的“华语电影”具有一定的时空特性,其在空间层面分布于海内外的华语地区,在时间上则从20世纪80年代之后才有意义。“华语电影”有华语地区合拍片、中国内地(大陆)出品汉语电影、港澳台地区出品汉语电影、中国少数民族母语电影和海外华语地区出品的华语电影等五种形态。华语电影的发展既要有融合,也要有分众,只有保持融合与分众的平衡,才能获得稳健且可持续的发展。“Chinese-language Films” is not a purely linguistic concept, but a concept in the sense of community. The concept of community in Chinese-language Films refers to the homogeneity of films made in the mainland, Hong Kong, Macao, Taiwan and other Chinese-speaking regions, as well as overseas Chinese regions. It is with this homogeneity that these films form a community, which in turn forms a unified Chinese-language Films. This homogeneity includes not only the homogeneity of language, but also the homogeneity of politics, economy, culture and aesthetics.Chinese-language Films under the threshold of the community has certain spatial and temporal characteristics, which is distributed in the Chinese-speaking regions of the world in space, and has become meaningful only after the 1980s in time. There are five forms of Chinese-language Films: Chinese-language regional co-productions, Chinese-language Films produced in the Mainland, Chinese-language Films produced in Hong Kong, Macao and Taiwan, Chinese-language Films produced by Chinese ethnic minorities, and Chinese-language films produced by overseas Chinese. The development of Chinese-language Films requires both integration and differentiation, and only by maintaining a balance between integration and differentiation can it achieve sound and sustainable development.
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