摘要
从2012年底党的十八大召开以来,中国电影场域原有的行动格局与权力关系发生显著改变,电影创作呈现出诸多新变。随着媒介融合与网络文化的全面渗透,"网生代"电影崛起,以"IP电影"为代表的跨媒介叙事风行。创作主体方面,更为多元化的电影创作新力量崛起。既注重主导意识形态表述又积极寻求商业化与艺术化表达的新主流电影涌现,构成了对以往主旋律电影的反思与超越。青春片与警匪片成为类型电影创作中最为显著的两副面孔。艺术电影则在主导文化与大众文化的夹缝中砥砺前行,创作与发行机制渐趋完善。
Since the 18th National Congress of the Chinese Communist Party held at the end of 2012, the original action pattern and power relations in the Chinese film field have changed significantly with new phenomena interms of the film creation. With the integration of trans - media and the through penetration of the internet safety, the internet- generation emerged and the trans -media storytelling became prevalent which is characterized by the ＂IP film＂ . As far as the subject of the creation is concerned, more diversified new powers of film creation have risen. The new main - stream film emerged, which is concerned with both the dominant ideological expression and the expression combining commerce and arts. These new powers constitute a reflection and a transcendence of the previous main - stream films. The youth film and the police - and -ganster film become two representatives of the creation of genre films. The art film, however, goes through difficulties between the dominant culture and the popular culture. The citation and distribution systems are more improved.
出处
《民族艺术研究》
2018年第2期22-30,共9页
Ethnic Art Studies
关键词
网生代
跨媒介叙事
导演新力量
新主流电影
中国电影创作
the internet - generation, trans - media storytelling, new director force, new main - stream film, the creation of Chinese films
作者简介
李宁，北京师范大学文学院博士后。北京100875
