论华莱坞电影生产主体与体制流变

On Huallywood Cinema's Subjects of Production and the Evolution of Film System

伴随着全球化进程的加速以及世界电影多级格局的形成,华莱坞电影曾经遵循的电影导演中心论抑或是作者论,显然已无法适应中国电影4.0时代的复杂情势,电影生产体制的自我完善势在必行。基于此,文章以媒介生态学为理论框架,考察华莱坞电影生产主体的四个层面:电影制片人、电影导演、电影编剧与电影投资主体,揭示其在电影生产生态链中相互协作、相互制约的辩证关系;梳理华莱坞电影生产体制流变进程,总结电影生产的生态循环困境:体制改革不彻底、构成职能复杂、跨界转型层出不穷、契约精神严重不足;提出实现电影生产及管理专业化、确立制片人的核心地位、强化制片人教育及培养、建立监制制度实现过渡等策略以促进华莱坞电影生产的健康运作与电影生态的良性循环。

With the accelerated process of globalization and the formation of multi--polarity for world cinema, the ever director centered theory or film author theory followed by Huallywood Cinema has failed in adapting to the sophisticated situation in the era of Chinese film in the 1940s. The cross-regional film production between mainland, Hong Kong and Taiwan, the infusion of overseas capital and the cooperative production of Chinese and foreign films indicate that the production system of Huallywood Cinema has to realize the self-improvement in the long--term transition. Therefore, this paper is based on Media Ecology Theory and brings production theory into the studies of Huallywood Cinema, tries to discuss the four aspects of Huallywood Cinema＇s subjects of production and sorts out the evolution of its production system, in order to shed light on the future of Huallywood production system and promote the healthy operation of film production and the positive cycle development of film ecology.