【摘要】：犯罪題材電影抑或稱警匪片一直以來(lái)都是受眾較喜歡的類型,且由于其主要以人類社會(huì)兩種極端對(duì)立的"罪與罰""破壞和懲戒"等行為狀態(tài)/意識(shí)形態(tài)為表現(xiàn)內(nèi)容,因而具有商業(yè)和藝術(shù)更多結(jié)合的可能性。但近年來(lái),內(nèi)地警匪片創(chuàng)作都因?yàn)樘^(guò)于割裂藝術(shù)和商業(yè)而無(wú)法獲得較高的關(guān)注度。2014年的《白日焰火》、2015年的《烈日灼心》卻以其鮮明的敘事風(fēng)格和對(duì)商業(yè)與藝術(shù)的巧妙縫合獲得成功,本文對(duì)此給予了分析。
[Abstract]:Crime movies or police and bandit films have always been the preferred type of audience, and because they are mainly expressed by the two extremely opposed "crime and punishment" and "destruction and punishment" and other behavior / ideology as the content of the human society. Thus there is the possibility of a greater combination of commerce and art. But in recent years, mainland police and bandit films have been too fragmented for art and commerce to gain much attention. In 2015, Sunburn is successful with its distinctive narrative style and skillful stitching of business and art, which is analyzed in this paper.
【作者單位】： 華南農(nóng)業(yè)大學(xué)藝術(shù)學(xué)院;
【分類號(hào)】：J905
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本文編號(hào)：2358542