华语警匪片的“北上”与“南下”——《绑架者》的类型意义与华语电影的困境

The Mergence and Confilct of Chinese Mainland and Hong Kong Gangter Films:The Significance of The Missing and the Predicament of Chinese Cinema

以港式警匪片为代表的香港电影经过近十年"北上"不断摸索,开始完成阶段性调整,终于开始大踏步地走进内地电影市场这一前所未有的宽阔版图之后,以内地警匪片为代表的内地电影开始"南下",内地警匪片如何与港式警匪片汇流,共同克服"本土意识"的作祟,拓展出新的商业类型,创造出新的艺术经验,是华语电影当下最为根本的历史任务。

This essay examines the stage adjustment of Hong Kong films and their influx into mainland market since 2012. The issue will be raised at the mergence of mainland and Hong Kong gangter films, focus on the way they cooperate and confilct. It argues that since Chinese film market will become largest in the world,the fundamental historical task of Chinese films facing is to overcome the legacy of cold war which named ＂local consciousness＂, to develop new business types and to create new artistic experiences with joint efforts.