政治、美学、商业:中国电影现实主义的流变——以新主流电影为例  

Politics,Aesthetics and Commerce:the Evolution of Chinese Film Realism——A Case Study of New Mainstream Film

作　　者：刘潇矾 LIU Xiaofan(School of Drama and Film,Shanxi Normal University Taiyuan Shanxi 030031)

机构地区：[1]山西师范大学戏剧与影视学院,山西太原030031

出　　处：《长治学院学报》2025年第1期85-89,共5页Journal of Changzhi University

摘　　要：自法国现实主义被引入中国后,现实主义逐步确立为中国的主导文艺思想,并通过周扬、夏衍等人的改造将社会主义政治话语熔铸在中国电影现实主义的美学传统中。随着新时期安德烈·巴赞电影美学理论的引进,国内开始对于电影现实主义进行美学层面的改造,弱化了政治宣讲。这一改造虽然将安德烈·巴赞的电影美学简化为了长镜头理论和纪实美学,却忽略了其对于社会关系、意识形态、人文情感的真实性要求。在批判现实的新写实主义电影创作的兴起与第六代导演的主流化转向中,新主流电影完成了主流意识形态宣讲、电影现实主义追求与商业类型化制作的融合,成功继承与发展了中国电影现实主义传统。The introduction of French realism to China marked the beginning of realism’s ascent to become the country’s predominant artistic ideology.Figures such as Zhou Yang and Xia Yan played a crucial role in this development,as they adapted and integrated socialist political discourse into the aesthetic framework of Chinese film realism.The arrival of AndréBazin’s film theory initiated a transformation in the aesthetics of film realism,which involved a de-emphasis on political propaganda.However,this adaptation often reduced Bazin’s complex theories to mere concepts of the long take and documentary aesthetics,neglecting his critical focus on the authenticity of social relationships,ideology,and human emotions.The emergence of critical realist films within the New Realism movement,coupled with the mainstream shift of the sixth generation directors,led to the creation of new mainstream films.This new wave successfully blended mainstream ideological messaging with the pursuit of film realism and commercial genre film making.As a result,it has effectively carried forward and enriched the tradition of Chinese film realism.

关 键 词：现实主义 中国电影现实主义 安德烈·巴赞 新主流电影 

分 类 号：J905[艺术—电影电视艺术]