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世纪之交,中国电影所遭遇的最重大事件,是电影开始被视为一种文化产业。电影本体的这种变化,导致诸多方面的调整、改变和推进,并把影响放大到整个社会。中国电影的存在环境和发展条件已经如此不同以往,而所有的变迁最终都将被提升到电影文化的层面,迫使它再次调整自身的文化姿态。在全球化语境中,中国电影的发展已经更多的不是由它的美学、艺术或技术来推动,而是由它在国内和全球范围内逐步扩大的传播来决定。而当电影传播作为新问题,在今天益发显示出它对电影发展的影响作用和推动作用时,从传播的角度进入电影史的研究,合乎逻辑地成为这个时代电影史述的新任务。恰恰是在传播的渠道、方式和形态而不是其他方面,中国电影的殊异之处体现得最为鲜明强烈。这才是中国电影百年历史中最值得关注和研究的部分。中国电影传播史的写作,其理论意义不仅限于描述一部独特的电影专门史,更在于通过研究,去总结经验,重新考察和评价中国电影的发展历程。
At the turn of the century, the most significant event that Chinese films have come across is that films are beginning to be regarded as a cultural industry. This change in cinema ontology has led to many aspects of adjustment, change and advancement, and the impact has been amplified to society as a whole. The existence environment and development conditions of Chinese movies have been so different from the past, and all the changes will eventually be promoted to the level of film culture, forcing it to adjust its cultural attitude once again. In the context of globalization, the development of Chinese cinema has more or less been driven not by its aesthetics, art or technology, but by its growing domestic and global spread. When film communication is a new issue and today it shows its influence and promotion on film development, the study of film history from the perspective of communication has become a new task of film history in this era. It is precisely in the channels, modes and forms of dissemination, but not in other aspects that the most striking and distinctive features of Chinese films are manifested. This is the most noteworthy and researched part of Chinese film’s centenary history. The theoretical significance of the writing of Chinese film communication history is not limited to the description of a unique film specialized history, but also through research, to sum up experience, re-examine and evaluate the development of Chinese film history.