一“中国电影面临危机”这无论是门外汉还是门内汉都在思考的一个大问题。那末危机在哪里呢?是设备落后?没有好的剧本?导演,演员素质差?是观众的水平低?这些都是危机的根源,但归根到底,还是本体错位,即把作为电影本体的感性错位于理性功能上去了。在中国的电影里,基于理性的认识、教育、宣传等因素居于统帅的地位,而基于感性的娱乐、消遣、满足等因素却一再地被排挤,中国电影的这一本体错位具体表现在缺乏真正的娱乐片上。在我们国家拍娱乐片是很有架子的,这种“端架子”有二种:一种是根本瞧不起娱乐片,唯恐沾俗,在有些人的眼里,电影只能是板着面孔训人,或者是引导一种所谓的“沉思”。这种架子我想且让我们去 A “Chinese movie is in crisis” This is a big problem that both laymen and foreigners are thinking. What is the crisis? Is the equipment behind? There is no good script? Director, actor poor quality? Is the low level of the audience? These are the root causes of the crisis, but in the final analysis, or the misplaced body, that is, In the rational function up. In Chinese movies, factors such as rational cognition, education, publicity and propaganda occupy the position of commander in chief. However, such factors as entertainment, entertainment and gratification based on sentiment are repeatedly excluded. The specific manifestation of this ontology in Chinese films is the lack of real Entertainment on the film. In our country to take entertainment is a very shelves, this “shelf” there are two: one is fundamentally despised entertainment, lest custom, in the eyes of some people, the movie can only be a face trainer , Or to guide a so-called “meditation.” I think this shelf and let us go