摘要
歌舞片研究一直是学者关注并不断创新的议题,对其“历史”“类型”“美学”“叙事”“政治”“文化”的研究范畴多有交叉。然而,当今天再次审视国产歌舞片时,历史问题与现实情境出现了互文式的探讨意义。尤其是当《跳舞吧!大象》《你美丽了我的人生》等影片遇冷时,同期在“抖音”“哔哩哔哩”等社交网站上掀起了一股“全民舞蹈狂欢”的文化浪潮,大众通过互联网媒介建构、传播的“舞蹈影像”成为一种“视觉迷醉形式”,这本身就蕴含着“舞蹈符码”从舞台到银幕,再作用于互联网的视觉文化生产过程转码机制。文章通过对好莱坞歌舞片演员弗雷德·阿斯泰尔(Fred Astaire)的“身体影像”进行分析,思考好莱坞歌舞片中舞蹈符码转喻后的动作概念、媒介概念、文化概念,观照当下“抖音”“哔哩哔哩”等社交媒体的跨媒介舞蹈狂化欢现象,最终探讨国产歌舞片的发展可能性。
Musical film has always been a topic of concern and innovation for scholars whose and its study fields mostly are overlapping in“history”,“genre”,“aesthetics”,“narrative”,“politics”and“culture”.However,as people examine domestic musical films again,a significance of intertextuality between historical issues and realistic situations arises,especially when films like Dancing Elephant and You Beautify My Life suffered a poor reception.Meanwhile,there was a cultural wave of“national dancing carnival”on social networks,such as,Tik Tok and Bilibili.The“dancing image”constructed and disseminated by the public with internet media became an“intoxicating visual form”that itself contained a transcoding mechanism in the visual cultural production during which the“dancing code”emerges from stage to screen,and then it reacts on the internet.This essay analyzes the actor of Hollywood musical film Fred Astaire's“body image”,contemplates the decoded concepts of action,media and culture in Hollywood musical films in the view of the dancing carnival on social media like Tik Tok and Bilibili and finally it discusses the possibility of developing domestic musical films.
作者
张阳
ZHANG Yang(Directing Department,National Academy of Chinese Theatre Arts,Beijing 100073)
出处
《贵州大学学报（艺术版）》
2020年第3期46-53,共8页
Journal of Guizhou University Art Edition
基金
2018年北京市青年骨干人才项目专项资助阶段性结果。
关键词
歌舞片
舞蹈符码
跨媒介叙事
musical film
dancing code
trans-medium narrative
作者简介
张阳,艺术学博士,中国戏曲学院导演系讲师,研究方向:戏剧影视美学、电影文化与批评。
