【摘要】：隨著十年動(dòng)亂的結(jié)束，萬(wàn)象復(fù)蘇。新時(shí)期伊始，政治氛圍相對(duì)寬松，思想解放在不同領(lǐng)域、不同層面展開(kāi)的同時(shí)，中國(guó)電影也隨著時(shí)代的脈搏再次開(kāi)始了它嶄新的跳動(dòng)，開(kāi)始了它一步步邁向現(xiàn)今輝煌成就的發(fā)展歷程。在這段發(fā)展歷程之中，八十年代對(duì)于中國(guó)電影尤為重要。這一時(shí)期的中國(guó)電影批評(píng)與創(chuàng)作的關(guān)系最為緊密，二者相互聯(lián)系、相互影響，電影批評(píng)真正做到批評(píng)之效，對(duì)中國(guó)電影指明了發(fā)展的方向和前進(jìn)之路。八十年代是一個(gè)“學(xué)術(shù)重建”的年代：這一時(shí)期，中國(guó)電影人以開(kāi)放的姿態(tài)引進(jìn)外國(guó)電影理論，以虛心的態(tài)度對(duì)外國(guó)電影創(chuàng)作實(shí)踐進(jìn)行借鑒和學(xué)習(xí)；這一時(shí)期，電影學(xué)術(shù)界對(duì)電影美學(xué)、電影“民族化”等熱點(diǎn)話題的討論達(dá)到了最高潮，對(duì)中國(guó)現(xiàn)今的電影理論發(fā)展的影響也頗深。八十年代又是一個(gè)培養(yǎng)電影導(dǎo)演的黃金時(shí)代，是中國(guó)“第三代”電影導(dǎo)演、“第四代”電影導(dǎo)演與“第五代”電影導(dǎo)演集中創(chuàng)作的時(shí)代，也是中國(guó)電影走出國(guó)門(mén)、走向世界，終于證明自己的輝煌時(shí)代。 在經(jīng)歷了“文革”時(shí)期的壓抑和灰暗之后，中國(guó)電影批評(píng)和電影創(chuàng)作重新燃起希望之光，，八十年代的電影批評(píng)給重生后的中國(guó)電影指明了發(fā)展方向和發(fā)展契機(jī)；在進(jìn)入市場(chǎng)化之前的中國(guó)電影創(chuàng)作實(shí)踐經(jīng)歷了幾多變幻，走過(guò)了怎樣的一個(gè)時(shí)期；八十年代電影批評(píng)與電影創(chuàng)作的關(guān)系究竟如何；中國(guó)電影是如何從現(xiàn)實(shí)主義傳統(tǒng)的回歸到“探索片”的橫空出世，在爭(zhēng)議和批評(píng)聲中，是怎樣的電影批評(píng)影響著電影創(chuàng)作？又是怎樣的電影實(shí)踐活動(dòng)引導(dǎo)著中國(guó)電影的批評(píng)新方向，使中國(guó)電影最終走向世界，走向今天多元化的發(fā)展之路的呢？
[Abstract]:With the end of ten years of turmoil, Vientiane recovered. At the beginning of the new era, the political atmosphere was relatively relaxed, and the ideological liberation began in different fields and at different levels. At the same time, with the pulse of the times, Chinese films began to beat again. Began its step by step towards today's brilliant achievements of the development process. In this period of development, the 1980's for Chinese film is particularly important. In this period, Chinese film criticism and creation have the most close relationship, they are interrelated and influence each other. The film criticism really achieves the critical effect, which indicates the direction of development and the way forward for the Chinese film. The 1980s was an era of "academic reconstruction": in this period, Chinese filmmakers introduced foreign film theory with an open attitude, and used an open attitude to learn from and learn from the practice of foreign film creation. During this period, the discussion on film aesthetics and "nationalization" in film academia reached its climax, and also had a deep influence on the development of film theory in China. The 1980s was also a golden age for training film directors. It was the time when China's "third generation" film directors, the "fourth generation" film directors and the "fifth generation" film directors concentrated on their creations. It was also a time for Chinese films to go abroad and to the world. Finally proved his glorious era. After the depression and gloom of the "Cultural Revolution" period, Chinese film criticism and film creation rekindled the light of hope, and the movie criticism in the 1980s pointed out the development direction and opportunity of the Chinese film after the rebirth. Before entering the market, the practice of Chinese film creation has gone through many changes and gone through a period, and what is the relationship between film criticism and film creation in the eighties? How did the Chinese film come back from the traditional realism to the "exploring film"? in the controversy and criticism, what kind of film criticism affected the film creation? And what kind of film practice activities lead to the new direction of Chinese film criticism, so that the Chinese film will eventually go to the world, to today's diversified way of development?
【學(xué)位授予單位】：東北師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J909.2

【參考文獻(xiàn)】

相關(guān)期刊論文 前2條

1 崔君衍;現(xiàn)代電影理論信息(第一部分)[J];世界電影;1985年02期

2 崔君衍;現(xiàn)代電影理論信息(第三部分)[J];世界電影;1985年04期

本文編號(hào)：2401312