摘要
在全民抗疫和脱贫攻坚的文化语境之中,在国际政治经济格局微妙变化的情势之下,中国电影的生产策略发生了明显的调整,历史记忆与集体经验的再度书写不但成为唤活大众的市场策略,也成为共同体身份认同与文化建构的叙事载体。《我和我的祖国》《我和我的家乡》和《我和我的父辈》系列影片即是如此,其中的四部短片《白昼流星》《回乡之路》《天上掉下个UFO》和《诗》讲述了发生在内蒙古、陕西和贵州等地的三个“新西部”故事,在回顾历史创痛与建构返乡故事中再造了当代西部与乡村主体,显现了一个绮丽壮观的绿色西部,一个充满着科技潜力的活力西部,一个被现实与网络“联通”的信息西部,同时又表现出对“都市病”和工具理性的反思,在“祛魅”与“返魅”之间,带有着“差异审美”和“自反生长”的新类型特征,表现出一种在消费机制的调节之下生成的美学风格、社会共识和共同体文化融合机制。
In the context of national anti-epidemic and poverty alleviation,and under the subtle changes in the international political and economic pat-tern,the production strategy of Chinese films has been significantly adjusted.The rewriting of historical memory and collective experience has not only become a market strategy to revitalize the public,but also a narrative carrier for community identity and cultural construction.This is the case with the series films My People My Country,My People My Homeland and My Country My Parents.Among them,four short films,The Guiding Star,Road Back to Hometorwn,UFO Falling from the Sky and Poem,tell three"the young west"stories of Inner Mongolia,Shanxi and Guizhou.In reviewing the historical pain and building the story of returning home,they recreated the contemporary western and rural subjects,developing a magnificent green west,a dynamic west full of scientific and.technological potential,an information west"connected"by reality and the Internet,and at the same time reflecting on"urban disease"and instrumental rationality.Between"Disenchantment"and"Re-enchantment",it has the new type characteristics of"differential aesthetics"and"reflexive growth",showing an aesthetic style,social consensus and community cultural integration mechanism regulated by the consumption mechanism.
作者
牛鸿英
宋天祥
Niu Hongying;Song Tianxiang
出处
《媒介批评》
2022年第2期175-186,共12页
Media Criticism
基金
陕西师范大学“一带一路”专项科研项目“电影节建设与丝路沿线国家电影文化交流研究”(项目号:21YDYLB005)的研究成果。
关键词
国产电影
新西部
共同体美学
地缘文化
空间形构
Domestic Film
the New West
Community Aesthetics
Geo Culture
Spatial Strueture
