在当今这样一个电影市场化的年代里,在整个社会迷漫着商业气息的历史语境中,任何一部“准时登场”的影片都有它不可否认的商业意图,但有的影片并没有把它外在于电影的商业策略转变成一种内在于电影的叙事策略,即没有把握电影艺术转变成商业价值的根本规律,而影片《英雄》却找到了一种与它潜在的商业意图相适应的叙事意图,从而完成了它的商业性写作。在世界电影史上,奥逊·威尔斯的《公民凯恩》,黑泽明的《罗生门》、《尼罗河的惨案》都曾经以不同的视点来演绎同一件事情。由于他们所建构的独特的电影形态的和与众不同的叙事方式,使这些影片成为举世公认的电影经典之作。尽管影片《英雄》并不是一部探索人们精神领域认知方式的电影,也不是一部以悬念取胜的动作片,但是它对传统中国武侠电影的改写与重构,为这部影片的商业化胜利奠定了一个满足观众多重心理期待的基础。市场征战也许,就象当年《火烧红莲寺》(1928)公映后“远近轰动”的势态是许多人所料不及的一样,在本土电 In today’s era of marketization of movies, any film that appears “on time” has its undeniable commercial intention in the historical atmosphere of a society as a whole, but some films do not treat it as such Outside the film business strategy into a narrative strategy inherent in the film, that is, the film did not grasp the fundamental law into commercial value, and the film “hero” has found a potential commercial intention with its narrative intent , Thus completing its commercial writing. In the history of world cinema, Orson Welles’s “Citizen Kane,” Kurosawa’s “Rashomon,” and the “Nile Massacre” all used the same point of view to deduce the same thing. Due to the unique cinematic and distinctive narratives they have constructed, these films have become universally acknowledged cinema classics. Although the film “Heroes” is not a movie that explores cognitive modes in people’s spheres of spirit, nor is it an action movie that won by suspense, it rewrites and reconstructs the traditional Chinese martial arts films to commercialize the film Victory laid a foundation to meet the audience’s multiple psychological expectations. Market campaign may, just as “burning Hong Lian Temple” (1928) after the release of “near and far sensation,” the situation is that many people can not expect the same in the local electricity