【作者】 张效礼；

【导师】 赵学勇；

【作者基本信息】 兰州大学 ， 中国现当代文学， 2007， 硕士

【摘要】 通过对90年代中国电影民族化理论的梳理，可以发现其围绕以下几个方面展开：首先，90年代以来电影民族化理论的变迁以及和民族化相关的概念的辨析；其次，全球化浪潮下的中国电影民族化之路；最后，和电影民族化相关的一系列问题的探讨。本人在界定90年代以来电影民族化的内涵时，参考了近年来的学术研究成果，重新定位电影民族化理论，拓宽研究视野，把它纳入整个中国电影的全局来考虑，具体来说如下：第一，从文化地域视角来看，必须处理好中国电影民族化和国际化的关系；第二，从文化产业视角来看，要发挥电影的文化产业属性，建设中国的民族电影产业体系。要把电影产业建设做为中国电影民族化的核心，积极探索，大胆实践，建立民族电影市场体系；第三，从文化立场视角来看，要认识90年代以来中国电影的大众文化立场和中国电影的民族化的关系问题，创作出更多的为中国百姓喜闻乐见的民族电影精品；第四，从文化发展视角来看，要全面看待中国电影的现代化和中国民族化的关系，在当代高科技的支撑下，提高电影的文化生产力，创作具有世界水平的民族电影。总之，进入90年代，我们所说的电影民族化，应该是走向国际化的、以市场化为核心的、站在大众化文化立场上的、以现代化的手段推进的民族化，我们所要建设的是具有国际气魄的、具有产业化规模的、为中国百姓喜闻乐见的、不断与时俱进的具有中国特色的民族化电影体系。更多还原

【Abstract】 Ever since 1990s, China has undergone a profound reformation concerning politics, economy, culture and other fields of society. Especially, the reformation gave birth to the consolidation of the mainstream culture rooted in socialism, and it helped to bring about multiculturalism in China. Consequently, this has contributed to the uniqueness of contemporary film industry in China, and it has facilitated the flowering of Chinese film industry. With the cosmopolitan background looming so large after 1990s, it is urgent that Chinese film industry should grope its way to a success of Chinese style. In 1980s, Chinese film industry was fed on Chinese aesthetics while contemporarily it is an unstoppable tendency to incorporate the films of Chinese feature into the world industry. Besides, with the promotion of the market since 1990s, Chinese film industry has been reoriented hopefully towards manufacturing films of Chinese feature.Seeing the history of Chinese film industry since 1990, the thesis adopts a culture-ecological perspective to study the current living condition of Chinese film industry as well as the overall properties of Chinese films. It attempts to have a close study of the sources which contributes these features of Chinese films. The thesis claims that Chinese film industry finds its spirit in culture-ecology, and it is reasonable to adopt a culture-ecological perspective to explore the regularity of developing Chinese film industry.The thesis starts with a brief review of the Chinese film theories, the relevant concepts and their evolution, and it proceeds to trace the history of the development of Chinese film industry since 1990s. It ends up with a series of discussions on such topics as the outlook of the mass, the future of Chinese films and the like.As discussed in the thesis, the current theories inherited the merits and vigor of those in 19980s, but they are still of piecemeal fashion. It is imperative that we gather and piece together the relevant theories to reconstruct a theoretical framework of Chinese films. During the process, we not only need to redefine the film theories of a nation and introduce them into a Chinese framework, but also need to take into consideration of different factors influencing on Chinese filmsPrimarily, form a cultural and geographical perspective we need to harmonize the relationship between films of a nation and cosmopolitan films. As a rule, films of a nation serve as the basis of cosmopolitan films whilst the latter is a driving force to facilitate the development of the former since 1990s.Secondly, in absorbing freshness of foreign films, we need more self-reliance and self-confidence to exploit the cultural legacy of Chinese films so as to construct the systems of Chinese film industry.Thirdly, in learning the fact that Chinese film industry features a standpoint of the mass in China, it is a necessity that we should produce more classic work tailored to the taste of the majority of the people.Fourthly, with the modernization of Chinese film industry, we need to promote the productivity of the industry to create more films of Chinese features, which meets the international standard in the field.In all, to develop films of Chinese features we need to build an industry on the standpoint of the mass, and meanwhile we need to commercialize and internationalize the film production as well. In this way, we could construct the film industry of Chinese features to cater to the aesthetic need of Chinese people.更多还原