论“新主旋律电影”

On"New Mainstream Film"

新中国建立以后,中国主旋律电影在弘扬革命传统、开展爱国主义教育等诸多方面固然存在着积极作用,但也存在概念化、模式化等一系列问题,难以真正摆脱观众乃至编创人员的冷淡态度,从而存在被受众边缘化的尴尬局面。从20世纪末开始,这种情况已悄然发生了可喜的变化——不少"新主旋律电影"跳出"领袖加英雄"的狭窄模式,大大拓宽了题材领域,在体现社会主流意识、国家意志、人民性与时代精神的同时,汲取类型电影的商业娱乐元素,开始注重本土化的人情人性观照,并通过类型化的交叉与混合,给广大观众带来全新的审美体验,从而为中国主流电影占据市场奠定了坚实的基础。

Ever since the founding of the People＇ s Republic of China, the mainstream film has an active role in dis- playing revolutionary tradition and engaging in patriotism, etc. But there existed a series of problems such as conceptualization and standardization, etc. So that it is unwelcome among audience and film-workers and marginalized by the audience. A change has happened since the end of the 20th century. Not a few new mainstream films overcome a narrow model of ＂leaders plus heroes＂ and widened the realm of subject matter. While embodying mainline social consciousness, will of the state, affinity to the people, and the spirit of the time, the new films absorb commercial and recreational elements of genre film, lay emphasis on native reflection of human nature, and combine alternation and blending, to bring to the audience a totally new aesthetic experience, thus to lay a solid foundation for China＇s mainstream film to occupy the market.