摘要
中国新主流电影所提供的审美经验并非对艺术风格和类型样式的简单混搭或者杂糅,而是倡导在电影创作中利用电影技术所营造的视听奇观"闯入"观众的固有经验,突破观众惯常的意识防护机制,从而完成对其心理的巨大冲击;与此同时,这种审美经验还强调通过超现实感官体验和情感契合令观众在观影过程中进入深陷其中的心理状态。前者带给观众的是"震惊",而后者则是"沉浸"。以此为基础,意欲在国家和民族的整体范畴中获得传播能量的新主流电影还要在审美特质中选取最大公约数,通过审美的普遍价值来凝聚最广泛意义上的电影观众,并利用类型结合与虚实交融,最终为观众提供打破固有认知的复合审美经验。
The new mainstream cinema in China, instead of providing a simple mixture or hybrid of artistic styles and genres, advocates that audiovisual spectacles created by film technologies should “break into” the established experience of audiences and their customary protective mechanism of consciousness so as to produce a psychological strike. Meanwhile, new mainstream cinema also creates an aesthetic experience, through which the audience are drawn deeply into the film thanks to their surrealistic sensory and emotional engagement. The surrealistic sensory experience brings “shock” to the audience, while emotional identification results in “immersion.” Provided with such aesthetic effects, the new mainstream film, aspiring to spread positive energy through the holistic conceptualization of the state and nation, also finds the greatest denominator among all aesthetic characteristics — thus aesthetic values of universal significance — to unite the broadest cinematic audience. Through fusion of genres as well as intersection between the unreal and the real, it ultimately provides the audience with complex experience that collapses their established and obstinate conceptualizations.
作者
陆晓芳
Lu Xiaofang(Journal of Shandong Social Sciences,46 Shungeng Road,Shizhong District,Jinan 250002,Shandong Province)
出处
《文艺理论研究》
CSSCI
北大核心
2021年第4期168-177,共10页
Theoretical Studies in Literature and Art
基金
教育部人文社会科学重点研究基地重大项目“马克思主义文艺理论与中国当代文艺价值观建设研究”[项目编号:17JJD720011]
山东省人文社会科学项目“中国新主流电影的文化实践研究”[项目编号:2021 JCWX 11]的阶段性成果。
