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本文立足于中国电影产业化语境,参照席勒的审美人类学思想和相关的中外传播理论,从完整传播角度将新世纪以来叫好又叫座的情理结构和谐圆融的中国电影细分为“风”“雅”“颂”三个子系统,并细致探究其情理结构形态所蕴含的美学和商业主因。作者提出,未来的中国电影艺术生产应以“活的形象”与中和型情理结构满足观众的游戏冲动诉求,在“美电影”的完整传播过程中完善人格,陶冶人性,促进和谐文化与和谐社会建构。
Based on the context of China’s film industry, referring to Schiller’s aesthetic anthropology and related theories of Chinese and foreign communication, this paper divides the harmonious and harmonious Chinese movie which is called “ The three subsystems of ”Feng“, ”Ya“, ”Song“, and explored the main aesthetic and commercial causes implicit in their rational structure. The author proposes that in the future the Chinese film art production should satisfy the demands of audience’s game impulse with ”vivid image “ and neutral structure theory, perfect personality, humanity and promotion in the complete spread of ”American movie " Harmonious Culture and Construction of Harmonious Society.