摘要
民族主体性是亚洲新电影发展三十余年来的重要标签。在艺术上,亚洲影人用以书写东方文化的民族范式,与好莱坞电影范式、"欧陆派"电影范式相得益彰。在工业上,亚洲民族电影产业已经成为世界第二大经济体。亚洲电影已是当今世界电影不可小覷的新势力,然而,在现有的世界电影史书写中,亚洲电影一直处于边缘地位,这与其应有的地位并不相称,因此有必要重写世界电影史。
National subjectivity is an important label for the development of new Asian films in the past 30 years. In the aspect of art, Asian filmmakers write oriental wisdom in a national paradigm, complementing the Hollywood paradigm and the European paradigm. In the aspect of industry, the Asian national film industry has become the world's second largest economy. All kinds of symptoms show that Asian movies are a new force that cannot be underestimated in the world today. However, in the writing of the history of the world's films, Asian films have always been marginalized, which is not commensurate with the status of Asian films. It is therefore necessary to rewrite the history of world films.
出处
《艺术探索》
2019年第2期103-107,共5页
Arts Exploration
基金
2017年度国家社会科学基金艺术学项目"‘一带一路’视阈下亚洲新电影共同体构建研究"(17BC046)
东南大学基本科研业务费重大引导项目"‘一带一路’战略视野下的‘中国-东盟’电影共同体建构研究"(2242018S10025)
关键词
亚洲新电影
民族主体性
一带一路
世界电影史
Asian New Film
National Subjectivity
Belt and Road
History of World Films
