摘要
面对当下"娱乐化"与"高科技"相争衡的电影生存环境,电影《白鹿原》对戏曲艺术的回归再次唤醒了民族文化审美的强大生命力,成为中国电影的"重头戏"。作为民族电影的重要基石,民族文化符号历来备受中国导演的钟爱,而导演王全安在电影《白鹿原》中对戏曲元素的多重审美关照,使陷入困境的中国电影的民族化探索道路上迈开了可喜的一步,为中国电影艺术注入了鲜活的民族印记。
Facing the competition between the entertainment and the high - teeh, the film ＂ White Deer Plain＂ reawakened the strong vitality of the national culture aesthetic by the return of the drama art, and has become the ＂Highlight＂ of the Chinese film. As an important cornerstone of national films, national culture symbol always loved by the Chinese director. The multiple aesthetic care about drama elements by the Director Wang Quan - an in the film, takes a promising step for exploring the nationalization of Chi- nese movie, and marks a fresh national imprint of Chinese movie.
出处
《唐都学刊》
2013年第5期58-61,共4页
Tangdu Journal
关键词
白鹿原
民族文化
审美意境
戏曲元素
White Deer Plain
national culture
aesthetic conception
drama elements
