摘要
新世纪以来,联姻消费市场的大陆喜剧电影在"笑果"制作上满足了观众的"娱乐"需求之时,也使得其成为文化投资者们"圈钱"的"新舞台"。高票房收入的背后,暴露出了大陆喜剧电影在喜剧立足点飘忽不定、喜剧价值观模糊以及任由喜剧电影滑向低格的感性之乐等艺术症结。喜剧品格的萎缩及虚无主义狂欢的盛行,与喜剧思维的偏离、喜剧意义传达的随意与任性不无关系,加之商业美学放弃艺术的抵抗性原则让不少喜剧电影成了单一的浅层消费符码。健全的喜剧电影,不仅需要有理性的构思能力及艺术策略来呈现当下社会现实矛盾和人性自身缺陷所内蕴的喜剧性,而且也要在艺术创造的自由境界中于人与社会之反常、不协调等所导致的可笑之处来实现对自我乃至现实的审视、批判和超越,这才是大陆喜剧电影应有的叙事伦理及艺术生命力之所在。
Since the beginning of the 21st century, comedy films have greatly entertained the audience in China mainland, making the industry the money pocket for cultural investors who want to make profits. Behind those box office successes, it reveals the artistic features of Chinese comedies, such as having uncertain stand, holding vague values, and leaving the music in those comedies develop into a vulgar one. The prevailing degenerated qualities and nihilism in those comedies have something to do with the deviated and casual thinking meaning in those films. Together with the commercial aesthetics abandoned art, it turns comedy films into a symbol of superficial consumption. A good comedy should have rational thinking and artistic strategy to present the nature of current social reality contradiction and human defects in a comedic way. Moreover, when doing free creation, we should look at ourselves and do self-reflection for further improvement by realizing presenting the abnormality and contradiction between human and society, this is where the narrative ethics and artistic vitality of comedy films should lie.
作者
滕斌
TENG Bin(School of Liberal Arts,China West Normal University,Nanchong 637002,China)
出处
《重庆邮电大学学报（社会科学版）》
2019年第1期130-137,共8页
Journal of Chongqing University of Posts and Telecommunications(Social Science Edition)
关键词
新世纪
喜剧电影
美学症候
文化透视
理论省思
new century
comedy films
aesthetic symptoms
cultural perspective
theoretical self-examination
