摘要
从上世纪90年代至今,作为中国家喻户晓的贺岁片导演和中国平民商业电影的身体力行者,冯小刚被认为是中国电影票房号召力的旗手。占据商业电影市场最显著位置近十年的冯小刚,其影片已经形成固定的模式和套路。本文着力对冯小刚所谓转型之作的《天下无贼》进行文本分析,透过作品背后传递出来的新兴市民阶层的文化态度及审美趣味,检视身处流行文化语境、步入营销时代的中国电影所面临的矛盾问题,并由此生发对百年中国电影的历史使命和未来前途的思考及讨论。
Since the 1990s, as a director of the New Year Movies known all over China and an agent of promoting commercial films for the common people, Feng Xiaogang has been regarded as the banner that has taken the lead of the box-office value of Chinese films for about 10 years, and his movies have already formed their special modes and styles. This paper aims to have a textual analysis of Feng’s transformational film A World Without Thieves, to examine the contradictions that the Chinese film faces in the context of popular culture and the age of marketing by penetrating into the cultural attitudes and tastes of the rising citizens, and to discuss the historical mission and future development of the Chinese film that has come into being for about a hundred years.
出处
《文艺研究》
CSSCI
北大核心
2005年第5期18-25,共8页
Literature & Art Studies
