当下中国电影的审美观念嬗变与发展趋向

The Transformation and Development Trend of the Aesthetic Concepts of Current Chinese Films

近年来中国电影以市场为指针的创作取得了很大的成绩,但很显然,从而也形成了市场的因素放大成为笼罩一切要求的偏狭性。严重忽略电影作为审美对象,电影本身所需要的艺术内容、艺术形式和艺术审美心态表现重要性的丢失,制约了其向创作高峰的行进。而近两年来,《湄公河行动》以及《战狼2》所体现出来的大众内心对于内容产品的需求,和对于英雄主义的审美需求,是如何的强烈!《二十二》《冈仁波齐》作为纪录片重在人心审美,却能够得到继续好的市场的回馈,就意味着有更多艺术追求的好作品,坚持其审美追求,应该能为中国电影新的跃进打下非常良好的基础。因此,如何合理地协调市场和艺术文化之间的关系是迫切需要解决的问题。一方面,要继续推出建设市场、推崇市场的大投资大技术和大作品,来占据我们市场的主流地位,为持续性的多样化的艺术生产提供良好的环境和背景;另一方面,我们也该精耕细作,让对于多样化创作里未必得到市场支持,或者需要有市场支撑来感染更多人,能够长效培育好市场和好创作的具有艺术质量的作品,与之相提并论地前行。我们不能够以市场性压抑艺术性,以流观审美替代静观审美,以群体性抹杀个体性,在主流创作中舍弃审美。中国电影应该有更好的审美的创作指标:首先,要是有创造性想象力的文化创造。其次,要有英雄主义的核心价值观的艺术表达。第三,对人的心理情感的细致描绘也应该纳入创作追求,而不是继续落入人物形象塑造耳提面命的窠臼。而从艺术审美的角度来看,中国电影迫切需要三种走向:首先走向现实,其次走向传统审美文化,第三走向个性创造。

The current Chinese film creation,which is led by the market,has made huge achievements. Obviously,however,the factor of market has been exaggerated so that it controls everything. Because of the disregarding of film as an object of aesthetics,the art content,art forms and the importance of art aesthetic mindset of films are lost,which curbs the proceeding of the creation to a higher level. In recent two years,strong demand of content products of the audiences,as well as the aesthetic demand of heroism,can be seen in the films Operation Mekong and Warrior Wolf 2. The documentaries focusing on emotional aesthetics,such as films Twenty Two and Kongrinboqe,enjoyed a positive market feedback. This means that there are many artistically quality products which emphasizes on aesthetics so that they can prepare a solid foundation of the Chinese films for a new leap. Therefore,the relationship between market and artistic culture becomes an issue for consideration. On the one hand,it is necessary to produce big products with big investment and big technology so as to construct,promote and occupy the market,providing a sound environment and context for the sustainable and diverse artistic production. On the other hand,it is also necessary to pay attention to intensive cultivation so that those art works which are not necessarily marketable or are in need of market support to affect more audience. In this way,the market and creation of these art works can be cultivated.We cannot use marketability to suppress artistry,replace static aesthetics with dynamic aesthetics,use collectivity to obliterate individuality and abandon aesthetics in the main-steam creation. There should be better creative indicators for the aesthetics of Chinese films. Firstly,the cultural creation should be creative imagination. Secondly,the artistic expression should have heroic core values. Thirdly,the delicate description of human emotions should also be included into the pursuit of creation,rather than being trapped in the mandatory restriction of figure modeling. In the perspective of artistic aesthetics,there are three directions in Chinese films: firstly,walk into reality,secondly,walk into traditional aesthetic culture and finally,walk into individual creation.