【作者】 李静；

【导师】 杨东篱；

【作者基本信息】 山东大学 ， 文化产业管理， 2024， 硕士

【摘要】 新主流电影是进入新时代以来新兴的电影类型,它以主旋律为底色,商业化为导向,艺术化为手段,传递国家主流价值,建构国家民族形象,一跃成为极具中国特色的成熟电影形态。近年来,新主流电影的佳作迭出,集中呈现了区别于西方国家主流意识形态表达方式的中国表达路径探索成果。但同时,新主流电影被消费逻辑过度支配,依旧存在商业性过强,艺术性不足的缺憾。因此,对中国新主流电影从审美批判的立场,兼顾其意识形态属性和产业属性,深入考量其“双效统一”的进一步实现显得愈加重要。研究基于西方马克思主义审美乌托邦思想,提出中国式审美乌托邦的表现机制,认为新主流电影的乌托邦想象是重建中国式审美乌托邦的范例。在此基础上开展实证分析,提出了新主流电影乌托邦消费行为模型。在进行文献回顾之后,第二章系统审查审美乌托邦思想,从乌托邦的发展历程中找寻审美转向发生的动力,梳理卢卡奇、布洛赫、马尔库塞、詹姆逊等西方马克思主义各个时期代表学者的审美乌托邦观点,并回顾中国传统审美乌托邦与西方不同的样貌与形态,提出重建“接地气”的中国式审美乌托邦的目标维度。第三章,初步廓清了新主流电影如何营建起乌托邦想象的。研究认为,新主流电影的本质内涵是集体乌托邦的中国式表达,采用家国一体与多元乌托邦叙事的审美形式完成了审美消费与想象消费的合流,但也发现观众在新主流电影乌托邦消费的想象涌动难以直接观测。为此,第四章对2018年8月至2023年8月票房收入在10亿元以上,具有一定市场影响力的14部影片,选取其豆瓣、淘票票网络平台爬取1434条有效影评文本,在词频分析后运用Maxqda2022进行层级编码与理论关联测量与检验,经调整优化后提出新主流电影乌托邦消费行为模型。第五章进行模型阐释。模型在以下四个环节循环往复:乌托邦精神感召是观众乌托邦消费的发生前提与行为起点,乌托邦影像感知实现了乌托邦精神的具体化表达,构成了乌托邦消费的直接对象和发生场域,乌托邦想象参与事关乌托邦消费中的审美愉悦和投入程度,乌托邦认知反馈聚焦观众在消费过后的审慎思考和认知性评价。这体现出新主流电影消费与审美的双重性,观众和银幕的共生性,从感知到反馈的循环性。最后,对如何管理引导新主流电影的生产创作与审美消费提出了意见和建议。更多还原

【Abstract】 New mainstream film is an emerging film genre since entering the new era,which takes the main theme as the background,commercialization as the guide,and art as the means to convey the national mainstream values and construct the national image,and has become a mature film form with Chinese characteristics..In recent years,the new mainstream films have produced a number of masterpieces,focusing on the exploration results of Chinese expression paths that are different from the mainstream ideological expression traditions of Western countries.However,at the same time,new mainstream movies are overly dominated by the logic of consumption,and still suffer from the shortcomings of too much commercialism and not enough artistry.Therefore,it is more and more important to consider the realization of the "unity of dual-effects" of the new mainstream Chinese cinema from the standpoint of aesthetic criticism,taking into account both its ideological and industrial attributes.Based on the Western Marxist idea of aesthetic utopia,the study proposes a mechanism for the expression of Chinese aesthetic utopia,and argues that the utopian imagery of new mainstream cinema is a paradigm for the reconstruction of Chinese aesthetic utopia.Based on this foundation,an empirical analysis is conducted to propose a model of utopian consumption behavior in new mainstream films.After reviewing the literature,the second chapter systematically examines the idea of aesthetic utopia,looks for the impetus of the aesthetic turn in the development of utopia,combs through the utopian viewpoints of Lukács,Bloch,Marcuse,Jameson,and other scholars who represented the various periods of Western Marxism,and recalls the appearance and form of the traditional Chinese aesthetic utopia that is different from that of the West,and proposes to rebuild a ""grounded"" Chinese utopia.It also reviews the different shapes and forms of traditional Chinese aesthetic utopias from those of the West,and proposes the target dimensions of reconstructing a "grounded" Chinese aesthetic utopia.In Chapter 3,the preliminary outline of how new mainstream cinema constructs utopian imaginaries is presented.The study concludes that the essence of new mainstream cinema is the Chinese expression of collective utopia,and that the aesthetic form of the unity of the family and the country and the multiple utopian narratives has accomplished the merging of aesthetic consumption and imaginative consumption,but it is also found that it is difficult to observe directly the imaginative surges of the audience’s utopian consumption in the new mainstream cinema.For this reason,in Chapter 4,for the 14 films with box office revenues of more than 1 billion yuan from August 2018 to August 2023,which have a certain market influence,1,434 effective film review texts were crawled from their Douban and Ticketmaster online platforms,and Maxqda 2022 was used to conduct the hierarchical coding and theoretical correlation measurements and tests after word frequency analysis,and the new mainstream film utopia is proposed after adjustment and optimization.Consumption behavior model.Chapter 5 carries out the model interpretation.The model repeats itself in the following four links:utopian spirit inspiration is the prerequisite and starting point of the audience’s utopian consumption;utopian image perception realizes the concrete expression of utopian spirit and constitutes the direct object and field of utopian consumption;utopian imagery participation is related to the aesthetic pleasure and the degree of commitment in utopian consumption;and utopian cognitive feedback focuses on the audience’s prudent thinking and cognitive evaluation after the consumption.cognitive evaluation after consumption.Finally,opinions and suggestions are given on how to manage and guide the production,creation and aesthetic consumption of new mainstream movies.更多还原