film concept is the understanding, answering and creative production management practice of "what is a film" and "what is a film", that is, the essence, body and function of the film. Ideas determine reality. The concept of film is the source and engine of film production. The history of film development is also a history of changes in film concepts. In the 70 years since the founding of New China, Chinese film concepts have been evolving in multiple dimensions including aesthetics, art, culture, and industry, affecting the overall creative thinking, critical vision, industrial dimension, and industrial system of the film industry. Generally speaking, the 70 years of Chinese film development have gone through the concept of national film and publicity, career, tools, art and culture, entertainment, industry, industry, and industrial aesthetics. The concept of film has undergone changes of the times along with its creation, from the "function/tool theory" and "national cinema" in the early days of the founding of New China, to the liberation of the mind in the 1980s, and film entertainment and film during the market reforms in the 1990s. The evolution of concepts such as art, culture, and the film industry, and the gradual penetration of the concept of the film industry since the wave of industrialization and industrialization in the new century, as well as the summary of the concept of "film industry aesthetics" in recent years, and the reflection of the changes in film concepts The inner relationship between film and reality, social and cultural changes. After the founding of New China, a corresponding revolutionary discourse system was established. The "Decision on Strengthening the Film Industry" promulgated on August 14, 1949 emphasized the importance of the film propaganda function and required that the development of the film industry be strengthened in order to The revolutionary ideas of the Communist Party of China are propagated throughout the country and the world. During this period, the film "State Theory" was produced under the guidance of Mao Zedong Thought and the core value concept of the state. The duty of the film is to express the national identity and safeguard the national interest. The film plays a role in educating the people and guiding the people to identify with the nation-state. From 1949 to 1976, a large number of revolutionary historical "red movies" such as "Red Detachment of Women", "Shangganling", "Heroic Sons and Daughters", "Dong Cunrui", "Southern Expedition and Northern War", and "Eternal Life in Fire" appeared. reflect. Most of the movie themes created at this stage are based on revolutionary themes, and follow the value concept of "serving workers, peasants and soldiers". They have not only succeeded in shaping a number of models of red films, but also made "national theory" a mainstream film concept and an anti-movie concept. The expansion of the concept itself. Since the reform and opening up, the concept of film has changed and changed, the aesthetic style of film has changed, the change of directors' generations-from the fourth, fifth, and sixth generations to the "new power" group, the collision and integration of film concepts, the collision and integration of culture are extremely intense . It can be said that a film development history of 40 years of reform and opening up is a history of film concept innovation, film culture collision and integration, and cultural innovation. An important goal of the ideological emancipation movement in the new era is to rebuild human subjectivity and return to the noumenon of literature and art, which is another important goal of the ideological emancipation movement in the literary and art circles in the new era. At this stage, around the concept of the relationship between film and drama, literature, and the modernization of film language, there were enthusiastic theoretical debates and creative practices in the film theory and creative circles, such as Bai Jingsheng's "Throwing the Cane of Drama" and Zhong Diandi's "The Divorce" between Drama and Film, Zhang Nuanxin, Li Tuo's "Modernization of Film Language", etc. The theoretical debates in the film industry during this period mainly focused on the essence of film, the relationship between film and drama, literature and film A series of issues such as language modernization all point to the renewal of film concepts in the new era. The film concept of the fourth generation of directors is "modernization of film language", that is, "return to film noumenon". They are devoted to the exploration of formal aesthetics, such as film narrative structure and image lyricism. The fifth-generation director continued the exploration of the modernization of film language and made a huge breakthrough in the aesthetics of "spatial" visual modeling. At the same time, film is used as a carrier of cultural reflection to carry out modern reflection on traditional culture. "Yellow Earth", "One and Eight", "Black Cannon Incident", "Hunting Field Zasa" and so on are representative. In the 1990s, with the transition from a planned economy to a market economy, the entire society began to have market awareness and consumer concepts in the context of the development of the commodity economy. Films gradually became diversified. In the 1990s, the main theme films, art films, and entertainment were formed. The three-legged pattern of the film. Under the cultural trend swept by the huge social changes and commercial entertainment characteristics, the main theme films, commercial films and art films have shown new forms in line with the market performance. On the basis of his familiarity with the mysteries of Hollywood movies, Mr. Shao Mujun proposed that “movie is an industry first, and an art second,” which was quite shocking at the time. In this environment, Chinese film creators began to pay attention toIt emphasizes the coordination of the artistic and commercial nature of film. For example, Zhang Yimou's "Codenamed Jaguar" and "Shake and Shake to Grandma's Bridge" are all genre movies with distinctive commercial characteristics, and Chen Kaige's "Farewell My Concubine" is a perfect example of the fusion of artistic and commercial. Feng Xiaogang's Lunar New Year film creates a unique Chinese-style commercial "genre" film, and at the same time reflects the rise of civilian ideology and consumer culture. In the new century, the industrial concept, popular culture concept, and industrial concept of film began to rise. Chinese films in the new century have experienced the tide of "entertainment", market commercial concepts, and industrialized operational concepts. They have gradually recognized the commercial and industrial characteristics of films and their corresponding popular cultural concepts. Chinese film blockbusters represented by "Hero" have begun to enter the world's mainstream commercial film market, demonstrating the ambition of Chinese films to participate in the construction of a global cultural pattern on a larger scale, and art films and theme films are also ushering in a period of turning to popular culture. "New mainstream movie blockbusters" in the new century, such as "The Founding of the People's Republic", "Operation Mekong", "Wolf Warriors 2", and "Operation Red Sea" commercialized operations in the selection of star lineups, narrative aesthetics, and publicity strategies, and implemented Chinese film industry blockbusters Integration with the main theme. While actively exploring the cooperation and cooperation between genre film creation and the industrialization system of the entire industry chain, these films also adhere to the unique artistic style and author’s expression, thus transcending the opposition between the film’s industrial system, commercial mechanism and artistic expression, presenting a kind of mass The cultural shift shows its market potential and vitality. "The Wandering Earth", as a representative of the industrialization of Chinese film, opened a new chapter in Chinese film, and also provided a reference for the reform of Chinese film industrialization. China’s new power directors are an important creative group that has emerged in recent years. Unlike the sixth generation’s antagonism to the system and commerce and the artistic avant-garde, the new directors adhere to the film concept of "commercial type and artistic quality", and strive to achieve personal While expressing art, it also faces the market and audience, pursuing a breakthrough in the box office. These directors are familiar with and are willing to follow the film industry mechanism and market rules, handle the relationship between genre, institutionalization, commerciality and author style, while actively exploring the cooperation and cooperation of genre film creation and the industrialization system of the entire industry chain, stick to it The unique author's style and self-expression, which transcends the contradictions between the film's industrial system, commercial mechanism and artistic expression. The author summarizes them as the rise of a concept of "film industry aesthetics". New China has gone through a glorious history of 70 years. Chinese film and the country have undergone tremendous changes and development. Together with the great changes in the political economy of New China, it has led film production with innovative concepts and written Chinese experience with images. And imagination, reflecting the historical process of Chinese social development. (The author is a professor at Peking University School of Art)
wonderfully recommends the inaugural meeting of the Academic Committee of the Chinese Academy of History, the Academic Advisory Committee and the first academic committee meeting in Beijing. The feature film "Republic Scholars" is officially launched in 2019. National Philosophy Social Science Achievement Library Application Announcement The 18th Selection Results of Sun Yefang Economic Science Award Announced The Decision on the Award-winning Achievements of the "Jiangsu Province Social Science Applied Research Excellent Project" in 2018
