摘要
近年来,在政府政策的扶持下,戏曲电影的创作不仅数量上蔚为可观,在故事内容、艺术手法上也做出了不少富有成效的探索。然而,不可否认的是它们在质量和传播上仍无太大突破,弱势地位依旧没有改变。因此,如何协调电影和戏曲两种艺术形式、传统与现代两种思维方式在创作中的矛盾与冲突,如何在传播结构和学术领域开拓新思路,实现艺术、市场等各方面的有机平衡,于戏曲电影内外都能达成"共同体美学",成为戏曲电影发展的重要路径。
In recent years, with the support of government policies, the creation of Chinese opera films has not only been remarkable in quantity, but also made fruitful explorations in terms of story content and artistic techniques. However, it is undeniable that they still have not made much breakthrough in terms of quality and dissemination, and their disadvantaged status remains unchanged. Therefore, how to reconcile the contradictions and conflicts between the two art forms, traditional and modern ways of thinking in the creation of Chinese opera film, how to develop new ideas in the field of communication structure and academia, how to achieve an organic balance between art and market, and how to achieve a “ community aesthetic ” inside and outside opera films has become important paths for the development of Chinese opera films. The “ community aesthetic” has become an important approach for the development of Chinese opera films.
作者
饶曙光
朱梦秋
Rao Shuguang;Zhu Mengqiu
出处
《电影艺术》
CSSCI
北大核心
2021年第6期77-83,共7页
Film Art
关键词
戏曲电影
共同体美学
纪实
写意
传播
Chinese opera film
community aesthetics
documentary
alienation
dissemination
