摘要
与中国经济发展新常态同步,当前中国电影产业正由资本蜂拥而入的爆发增长阶段转向资本谨慎投入、政策支持发力和注重质量发展的阶段,转变发展方式、优化发展结构、转换增长动力、提高供给水平,已成为解决中国电影产业长期积累的结构性和内生性矛盾的新的选择,也成为从经济学角度考量建构电影共同体美学的重要进路。电影供给侧改革空间巨大、内容庞杂、任务繁多,作为电影产业深化改革发展的主攻方向,从建构电影共同体美学入手,将会使改革的指向更为明确,更加精准,更好地落地到位。而在当下,一是要认真厘清和匹配宏观经济走势,二是要继续完善生产体制机制,三是要大力提升生产能力和水平,四是要更加注重营销和投放。深化电影供给侧结构性改革,是一场攻坚战,也是一场持久战,共同体美学的视野将使之定位清晰、方向昭彰,而高能级的供给则将为电影共同体美学的建构提供扎实的保障、雄厚的根基。两者互为依托,相辅相成,得以齐头并进。
In parallel with the new normal of China’ s economic development,China’ s film industry is shifting from a stage of explosive growth with capital influx to a stage of prudent capital investment,policy support and quality-o riented development. Transforming the development mode,optimizing the development structure,transforming the growth momentum,and improving the supply level have become new choices to solve the long-accumulated structural and endogenous contradictions in China’ s film industry,and also become an essential way to construct the aesthetics of the film community from the perspective of economics. As the main direction of deepening reform and development of the film industry,the supply-side reform of the film industry,with the construction of a film community aesthetics,will make the reform more clear,more precise and better implemented. At present,the first thing is to seriously clarify and match the macroeconomic trend,the second is to continue to improve the production system and mechanism,the third is to vigorously promote production capacity and level,and the fourth is to pay more attention to marketing and delivery. Deepening the structural reform on the supply side of the film is an assertive battle and a protracted war. The vision of community aesthetics will make the direction clear and vigorous,while the high-energy supply will provide a solid guarantee and a strong foundation for the construction of the film community aesthetics. The two are mutually dependent and complementary to each other,so that they can go hand in hand.
出处
《东岳论丛》
CSSCI
北大核心
2022年第5期48-55,191,共9页
DongYue Tribune
作者简介
李建强(1953-),男,上海交通大学教授、博士生导师,中国电影评论学会副会长,研究方向:电影理论批评、电影文化。
