纵观廿世纪末的中国电影市场,发现充斥各大院线的叫座片不外乎以下几类:再现恢宏历史场景的历史巨片如《开天辟地》、《大转折》;高扬主旋律的教育片如《刘胡兰》、《离开雷锋的日子里》;高科技影音合成的引进片如《碟中谍》、《山崩地裂》;根据小说改编的故事片如《廊桥遗梦》、《黑骏马》;以消谴为目的的娱乐片如《义胆厨星》;从国际影展中镀金而来的,包括本土的《红高粱》、《大红灯笼高高挂》和外来的《猪宝贝》等;另有少数表现人情伦理的生活片如《赢家》、《情归巴黎》。存在必有其必然性,它们的孰是孰非我们也可以暂且不沦。然而我们必须清醒地看到,当中国宏观体制背景从计划经济向市场经济转型以后,电影为顺应消费形势和大众娱乐心态,形成一个局部市场引导电影创作的逆流——在商品大潮的裹胁之中,电影创作者忽视了电影作为艺术的 Looking at the Chinese film market at the end of the twentieth century, it is found that there are only a few popular films called “Grand Opening” that reproduce magnificent historical scenes such as “epoch-making” and “big turning-point.” Elevated themes such as “ Liu Hulan, ”“ leaving Lei Feng’s days ”; introduction of high-tech audio and video synthesis film such as“ Mission Impossible ”,“ Landslide crack ”; according to the novel adapted from the novel such as“ Covered Bridge, ”“ Black Horse ” Entertainment films such as “Yixiu Chef Star” and “Golden Sorghum”, “Red Sorghum” hanging from International Film Festival, “Exotic Red Lantern” and “Pig Baby” from abroad; A small number of life ethics such as “winner”, “love Paris.” There must be its inevitability, and what is right or what we can for the time being. However, we must be soberly aware that after China’s macro-institutional background transformed from a planned economy to a market economy, the film formed a countercurrent to the local market to guide the creation of films in response to the consumption situation and mass entertainment mentality. In the wake of the tide of commodities , Movie creators ignore the movie as art