摘要
贺岁电影的出现,是21世纪前后中国电影面临票房困境和市场压力的无奈选择,也是中国喜剧电影寻求观念突破与整体超越的重要环节。然而,由于各种原因,即便是票房鼎盛、口碑甚佳的冯小刚贺岁片,也存在着“深度”的执迷与“作者”的误区,这是悖逆消费文化逻辑、阻碍贺岁电影发展的主要症结。笔者以为,只有消除传统的“深刻”的价值观、放弃个性的“作者”的预期,在贺岁片的“符号”与“意义”之间寻求开放性的阐释,才能建立正常的文化消费逻辑,打通贺岁电影的进路。
The emergence of the New Year Movies is the last choice made by Chinese filmmakers under the pressure of financial difficulty and market competition. It is also an important step for the Chinese comic movies to break through conventional ideas for a complete innovation. However, for some reasons, even the best-seller New Year movies directed by Feng Xiaogang have their “depth” obsession and the wrong expectation of the “author.” This is the main reason that hinders the development of the New Year Movies and runs contrary to the logic of consumer culture. The author of this paper holds that only by way of eliminating the “depth” obsession and the personal expectation of the “author,” and thus searching open-ended suggestions and interpretations between “symbols” and “meaning” of these Movies, can the proper logic of consumer culture be established and the progression of such movies be ensured.
出处
《文艺研究》
CSSCI
北大核心
2005年第5期5-11,共7页
Literature & Art Studies
