主流电影动态特性的理论框架及其中国实践  

Theoretical Framework of Mainstream Film Dynamics and Its Practice in China

作　　者：解建峰[1] 张卫军 XIE Jianfeng;ZHANG Weijun(Film-Television and Communication College,Shanghai Normal University,Shanghai 200233,China;School of Marxism,Huaibei Normal University,Huaibei,Anhui 235000,China)

机构地区：[1]上海师范大学影视传媒学院,上海200233 [2]淮北师范大学马克思主义学院,安徽淮北235000

出　　处：《贵州大学学报(艺术版)》2025年第2期50-58,F0003,共10页Journal of Guizhou University Art Edition

基　　金：国家社科基金艺术学一般项目“中国主流电影的意识形态研究(1976—2016)”(项目编号:2017FC02222)。

摘　　要：在全球电影工业中,“主流电影”因其高度的市场影响力与文化导向性,一直是学术研究的核心议题。近年来,随着中国电影市场的崛起与国际影响力的提升,如何从全球化视野考察中国主流电影的“动态特性”成为值得深入探讨的新课题。“主流电影动态特性”的理论框架,重点从意识形态传播、观众接受、市场化与技术驱动、全球化传播四大方面阐释主流电影在中国的演变逻辑。中国主流电影在叙事多元化、商业类型化与价值观输出方面均呈现出显著的动态特征,同时与全球电影工业形态构成了新的对话空间。In the global film industry,“mainstream film”has always been a core topic of academic research due to its high market influence and cultural orientation.In recent years,examining the“dynamics”of Chinese mainstream film from a global perspective has become a new topic that is worth in-depth discussion with the rise of the Chinese film market and its increasing international influence.The theoretical framework of“mainstream film dynamics”aims to elucidate the evolution logic of mainstream film in China through four key aspects:ideological dissemination,audience reception,commercialization and technological advancement,as well as global transmission.Chinese mainstream film exhibits distinct dynamics in narrative diversification,commercial genre classification and value dissemination,and thereby it fosters a new dialogue space within the global film industry.

关 键 词：主流电影 动态特性 意识形态 主旋律 新主流 中国电影 

分 类 号：J90[艺术—电影电视艺术]