【作者】 刘雯；

【导师】 金晓非；

【作者基本信息】 河北大学 ， 戏剧与影视学， 2015， 硕士

【摘要】 九十年代中后期,受到政权交替和亚洲金融风暴的影响,香港电影业陷入低谷,香港电影人开始担忧港片的未来将何去何从。香港回归之后,内地市场开放,两地之间的互动加强,香港导演开始寄希望于中国内地这个有着无限潜力的市场。2003年,中央政府和香港特区政府签署了《内地与香港关于建立更紧密经贸关系的安排》(简称CEPA),随着CEPA的逐步实施,香港与内地电影的交流与合作更加深入,大批香港导演王晶、徐克、周星驰、陈嘉上、陈可辛、杜琪峰、刘镇伟、许鞍华等开始进入内地拍片。十年过去,香港导演在逐渐摸索中渐渐融入内地文化,香港导演的作品成为内地票房的重要组成部分,香港电影人也将工作重心转向内地。“北上神州”已经成为一种文化现象。然而,内地和香港由于文化背景、观影习惯的不同以及电影审查制度不一,香港导演在内地的发展并不是一帆风顺,他们不得不开始寻求一种新的转变去适应内地市场。“北上”后的香港导演在自身收获的同时也对内地的电影业产生了一定的影响。近年来,香港导演在与内地的合作中,创作出票房与口碑双赢的作品不在少数,“大中国”电影正在逐步成熟。本文主要是对CEPA后香港导演群体“北上”进行了归纳整理,着重从题材、类型、主题、叙事等方面分析了香港导演“北上”后风格的嬗变;再通过几个有代表性的“北上”导演,具体分析其适应内地化的转变;最后得出香港导演群体“北上”后转变的“得失”与“利弊”,继而为香港导演“北上”提供相应的对策,为今后中国电影的发展提供一些启示。更多还原

【Abstract】 In the late 19 th century, Hong Kong film met unprecedented difficulties under the influence of alternating political power and the Asian financial crisis. Hong Kong filmmakers began to think about the future of Hong Kong films. With the return of Hong Kong to China, the opening of mainland film market and the increasing interaction between Hong Kong and mainland China. Hong Kong directors gave their hope to mainland China, the unlimited potential and untapped market. In 2003, the Central Government and the Hong Kong SAR Government signed the protocol, "Mainland and Hong Kong Closer Economic Partnership Arrangement"(CEPA). With its gradual implementation as well as further communication and cooperation of films in Hong Kong and Mainland China, A large number of Hong Kong directors, such as Wong Jing, Xu Ke,Zhou Xingchi,Chen Jiashang,Chen Kexin,Du Qifeng,Liu Zhenwei,Xu Anhua and so forth began to make films in the mainland. Over the past decade, Hong Kong directors gradually get a full understanding of the mainland culture after longtime exploration.Their work has become an important part of the mainland box office and they began to focus on the mainland market. "Go North" has become a cultural phenomenon. However, it is hard for Hong Kong directors to achieve success in Mainland China due to different cultural backgrounds, varied tastes and divergences in film censoring system. Hong Kong directors had to look for a new method to adapt to the mainland market. To some extent, Hong Kong directors who have gone north also influences the film industry of mainland China. In recent years, films which cater to the taste of the mainland market and succeed in the box office have appeared in recent years. "Greater China" movie is mature gradually. The present paper mainly summarized Hong Kong director groups after " Go North", and analyzed their transition in terms of subjects, types and aesthetic styles. Representative directors are then brought out to show their changes to adjust to the mainland. In the end, this paper explores "pros and cons" of Hong Kong directors’ transitions after going north, aiming to provide appropriate countermeasures for those directors and some inspiration for the future development of Chinese film industry.更多还原