摘要
在一个年轻观众占绝对主导地位的时代,"青春"作为一种类型思维被广泛采纳,几乎所有类型电影都试图在各自的框架内与"青春"对话。作为类型的国产青春片尚处在形成之中,它广泛借鉴其他类型的表现手法,试图勾连观众以往的类型观影经验,努力溢出"青春"的拘囿,进入主流文化的界域。得益于年轻观众对类型创新的包容度较强,青春片成为跨类型实验的演练场,近年来国产青春亚类型十分活跃,这类影片尚未形成类型成规,还有长足的类型发展空间。相比美国青春片经历了半个世纪的发展,已走过了效仿其他类型以及自我复制的历程,转而向有深度的超类型青春片迈进,国产青春片在迅速走过了短平快的发展阶段后,也开始尝试深度模式,出现了一批较有代表性的、具有超类型与反类型特质的青春片。
In an age which is dominated by young audience,＂youth＂,as a genre thought,has been widely adopted,so that almost all genre films try to communicate with ＂youth＂in their own frames. Chinese youth film,as a genre film,is still immature. It adopts the expression methods from other genre films,trying to draw out audiences past viewing experiences,to exceed the restriction of ＂youth＂,and to enter the field of mainstream culture. Thanks to a wide acceptance of the young audiences of the genre innovation,youth films become an experimental field of trans-genre films. In recent years,the sub-genre youth films are very active. However,these films are immature and there are spaces for the development of genres. The youth films in the U. S. have developed for over half a century. They have past the time when they followed other genres and copied themselves,turning to the ultra-genre youth film with depth. When Chinese youth films have past the development stage which is short,adaptable and fast,they are trying the depth mode. As a result,a group of representative youth films appear with ultra-genre and anti-genre characteristics.
出处
《民族艺术研究》
2017年第6期15-22,共8页
Ethnic Art Studies
关键词
国产青春电影
跨类型
超类型
反类型
元青春
Chinese youth films
trans-genre
ultra-genre
anti-genre
meta-youth
