摘要
亚洲较早形成民族电影市场,决定了其以面向国内观众为主,追求各自民族风格的强化,以求在西方电影占主导的电影市场中得以生存。这深刻影响了亚洲各国电影艺术的发展,推动了一批以民族文化特色为基础的电影大师和电影类型的产生。西方主流电影的文化选择带来诸多在西方广获好评却在国内饱受争议,或在区域内极受欢迎的商业类型在西方却难以引起共鸣的电影现象在亚洲许多国家和地区反复出现。无论是从黑泽、大岛到侯孝贤及早期第五代的艺术电影,还是香港武侠片和印度歌舞片等商业电影都是如此。随着亚洲一些国家和地区经济发展和社会变革,从“自外”到“融入”的趋势渐渐从经济渗透到文化和电影领域。类型电影的广泛移植不再是自卑者的模仿,民族特色也不再是一种自我保护的武器,亚洲文化因素也日益成为西方主流电影新的文化资源。今天的亚洲电影还正在超越国界,不仅有电影工业的国际合作,也在美学和艺术上融合着。一种新的东方电影正在形成。它对于西方可能仍是处于边缘位置的“文化上的他者”,但已经身处全球化的电影市场和文化之中了。
Asia's national film markets were formed quite early. They were for domestic spectators and put a lot of emphasis on national characteristics to survive in the west -dominated local market. This phenomenon had a very deep impact on the film art development in Asian countries and brought about a number of filmmakers and genres based on their national cultural characteristics. The choice to keep out of the western main stream resulted into two types of films and filmmakers-those who were highly popular and honored in the west but strongly criticized in their own nations,and those who were well accepted by the locals but rejected in the west. As a matter of fact,they both had the same fate,whether being artistic films like Kurozawa or the early fifth generation Chinese directors,or the commercial genres like Indian musicals and Hong Kong swordsmen films. Along with the economic development and social changes in some Asian countries, the trend from “Keep outside”to “involve in”gradually infiltrates through economy into culture and film. Genre replants are nolonger symbols of self - contemptuous filmmakers. National characteristics are no longer the weapon for self- protection. Some Asian cultural elements are also being used in western mainstream films as new cultural inspirations. Today!s Asian cinema is beginning to step across national borders. Cooperation exists not only in international film - making, but also in film arts and aesthetics. A new oriental cinema is calling into being. While it may still be regarded as a “cultural alien” on the border to the west, this new cinema has already penetrated into the global film market and culture.
出处
《北京电影学院学报》
CSSCI
北大核心
2006年第1期1-6,共6页
Journal of Beijing Film Academy
