“高概念”电影与国产大片

“High Concept”Movies and China's blockbusters

进入21世纪,中国电影产量逐年增长,电影票房持续走高,已逐步成为世界电影大国;在此过程中,本土生产的商业大片起了举足轻重的作用。但这些大片真是拯救中国电影免被好莱坞完全吞并的"救命符"吗?通过文本分析,比较好莱坞"高概念"电影《拯救大兵雷恩》(1998)和国产大片《金陵十三钗》(2011)的美学风格和叙事手段,借此期冀对这个问题提供某些思考与启示:中国电影要在好莱坞"狼逼门前"的威胁声中真正"走出去",需认真思考如何平衡本土与世界(故事题材、主题意义方面)、繁复与简洁(叙事结构、美学风格方面)间的关系。

In the 21st century, Chinese film production has been increasing year by year, and the box of- fice continues to rise. China has emerged as one of the leading players in the global market of filmmaking, which owes a lot to the domestically produced ＂blockbusters＂. But are they really the panacea that would pre- vent China~ film industry from being completely annexed by Hollywood movies？ Based on textual analysis, this paper is to compare＂ Saving Private Ryan＂ （1998） , a＂ high concept＂ Hollywood movie, and China＇ s blockbust- er＂ Flowers of War＂ （2011） in terms of aesthetic styles and narrative strategies in the hope of providing some useful insights and reflections on this issue. The paper argues that with Hollywood movies becoming threaten- ingly ambitious and coveting, China＇ s film industry, if it is to really break into the global film market, has to seriously work out the balance of the local and the global （concerning subject matters and themes） and the sim- ple and the complex （concerning narrative strategies and aesthetic features）.