摘要
作为一个定义多元的指代,"电影节电影"这一概念能够用于批判地考察两代中国电影——尤其是对在过去20年中在国际电影节平台上大放异彩的"都市一代"——的全球流通轨迹。一方面,全球化语境下的电影节体现出巴赫金式的多声部性,而"世界电影节体系"作为世界"电影经济体"的重要环节,通过销售代理、发行商和影评人等的协同努力将电影协力打造为"有利可图的国际奢侈品"。同时,电影节影片甄选和节目策划则在很大程度上体现出皮埃尔.布迪厄所说的文化产品的"经典化"倾向;更重要的是,甄选过程本身无疑也融合了多样化的社会文化议题。通过略览领风气之先的第五代电影导演如张艺谋等人的"自传民族志"电影作品,人们能够看到当代后社会主义中国语境下,"电影节电影"这一概念如何演进。而新一代中国电影中所谓"电影节电影"的制作、流通和展映,也成为中国大陆独立电影生态中的重要部分。同时,部分年轻的电影作者通过在自己的作品中模仿特定的美学特征或者重复受关注的题材来赢得国际电影市场的通行证——这种做法也不应该完全被看作是负面消极的:一方面,电影节网路成为中国独立电影进入全球视觉制作/消费食物链的关键一环;另外一方面,关于"电影节电影"的刻板看法也应该做出相应调整或者部分抛弃。
This essay has revisited the concept of the ＂festival film＂ critical device in order to map out the global circulating trajectory of the Urban Generation Chinese films and its politics. While it is true that most independent Chinese film is destined for distribution overseas, to accuse them of ＂ selling out＂ -either ideologically or aesthetically-in order to win a global audience is to ignore the changing topography and dynamics of con- temporary world film festival system itself. Therefore, by deploying Thomas Elsaesser and Marijke de Valck＇s arguments about international film festivals and the film festival network, the author attempt to outline what he understand as a reconfigured world visual industry. Nevertheless, the ideological and cultural mechanisms embedded in the valorization of films and the politics of programming as an integral component of festival discourse needs to be highlighted in any analysis of the contemporary festival circuit, particularly as it pertains to the circulation of contemporary Chinese film through it. Then Zhang Yingjin＇s formulation of post-socialist filmmaking will help to illustrate the dynamics between politics, marginality, capital, art and the market, which offers a Bourdieuian perspective through which to observe Chinese independent filmmaking without effacing the critique of filmmakers＂ autonomy. The festival circuit has functioned as the crucial link for Chinese independent films to enter into the global visual production or consumption chain; but in order to understand this process, stereotyped visions of ＂festival film＂ need to be revised or debunked entirely.
出处
《上海大学学报（社会科学版）》
CSSCI
北大核心
2009年第4期114-135,共22页
Journal of Shanghai University(Social Sciences Edition)
