Artistic individuality and commercial value

下面为大家整理一篇优秀的paper代写范文- Artistic individuality and commercial value，供大家参考学习，这篇论文讨论了艺术个性与商业价值。电影艺术价值与商业价值的艰难博弈，成为近年来电影生产常见的矛盾。近几年来，电影由倚重于艺术价值的表达，逐渐走上市场化的生产道路，是一个自然而然的过程。但片面追求票房也可能导致电影艺术内涵的缺失，会牺牲电影反映社会生活的广度与深度。因此，如何做出积极而又理性的选择，既能推动电影全面健康发展，又能够使观众充分感知电影艺术魅力的选择，这是一个现实而紧迫的问题。

The difficult game between box office and public praise, between audience and praise, and between artistic value and commercial value of film has become a common contradiction in Chinese film production in recent years. Movies with high artistic value are hard for audiences to accept, and few people care about them because of their high social status. While movies with high box office sales really play a role in entertaining audiences, but when they are held dry in their hands, they are left with a little poor artistic "dry goods", and they are indeed ashamed to take them to the stage. This has to make us think, in the process of industrialization and commercialization of domestic films, how on earth to balance the relationship between art and business, so that the works are both acclaimed and acclaimed?

In recent years, scholars have repeatedly discussed the reform and transformation of China's film system, believing that it is a natural process and respect for the art of film for Chinese films to step onto the market production path from relying on the expression of artistic values. The idea of course is good, especially in the context of consumer culture, the film industry as one part of the society as a whole production chain, the production characteristics of copy machine, and material consumption patterns and other arts has a considerable distance, such as sound and light effects of visual stimuli obviously than text reading gives people the idea of shock. In this sense, it should be advocated to emphasize the market factors and box office concepts, which conform to the characteristics of industrial production and consumption patterns of films. But on the other hand, the one-sided pursuit of box office may also lead to the lack of artistic connotation of the film, which will sacrifice the breadth and depth of social life reflected in the film. Therefore, how to make positive and rational choice, can promote the development of Chinese film overall health, and can make the audience fully perceive the choice of movie artistic charm, this is a realistic and urgent problem, every concern and attention of the Chinese film industry, should be to careful analysis, depth of thinking.

Artistic films are branded with the unique spiritual world of the author, showing their serious thoughts on social life and the self-conscience of intellectuals. Some of their thoughts can rise to the level of the universe and history, showing a bright metaphysical color. However, the ideological value of art films may not be able to be turned into commercial selling points, for the following two reasons:

The themes of art films, mostly reflecting on the living conditions of contemporary people, involve dark and heavy life topics. In recent years, in general, the art of film presents a more unified value orientation: based on the gap between rich and poor, social stratification becomes more and more severe in contemporary society, with the underlying character as the basic concerns, social reality of the helpless and heavy, reflection in the process of modernization of ideological and moral changes, as well as the social mainstream ethics and values at the bottom of the fracture. Although the original ecological life is the source of artistic creation is indispensable, but too much focused on social evils often leads to feelings of depression and anxiety, do not write the underlying people rich and complex inner world, give their existence to the integrity of the aesthetic care, it will bring to the audience's viewing of psychological distress. Film has become the carrier of self-expression of film writers, and its inherent entertainment function is basically diluted and ignored, which is an important reason for audiences to abandon art and steal commercial films.

As the basic means to highlight the artistic personality of the author, art films often adopt personalized narrative stories and video expressions, which are not unfamiliar in art films. In jiang wen's the sun also rises, we can see that the clumping structure that disordered the order of time and space forms a political fable of The Times, the unique personality music of green tea and the fast medium and close shot switching, as well as the common stroboscopic, shaking and piecelike mirror preference in art films... Although this kind of personalized expression is an extension and extension of directors' artistic self-identification in practice and thinking, any thinking and action should be based on the audience's understanding and willingness to accept, otherwise it will be meaningless. But directors ignore the audience's aesthetic tastes and put their own interests above their works, which is the reason why box office flops like the sun also rises and green tea fail so badly.

Despite the box office, despite the marketing needs of the allocation of commercial aesthetic elements in the market all the way to success, sales, but the commercial film exposed problems have been constantly criticized by people. The pallor of the story weaving, the conceptualization and symbolization of the characterization, the absence of emotion and the confusion of value judgment are all reasons for the audience to "curse and curse while watching" when buying tickets to the cinema.

Plots, scenes and characters in commercial films are mostly set not only for the needs of "beauty", but also for the needs of the market. This model is not so much an artistic wisdom as a business wisdom, and its internal logic is guided by the market. For example, some film directors choose actors not the most suitable ones, but the ones that are most recognized by the market. Although these actors may be configured together and have different accents and styles, the purpose of the film is not to pursue the integrity of art, but to pursue the coverage of the market. Similarly, the scenes, characters and actions in the film, as well as the selection of actors mentioned above, are actually the result of "forced" selection in order to accommodate the market. In this context where the box office is everything, the artistic aesthetics of the film will certainly give way to the so-called "commercial aesthetics".

At present, commercial film production is dominated by the market logic and has three prominent features: first, it weaves fantastic plots to cater to the so-called modern audience's curiosity, and the tendency of kitsch is very serious. The second is the stylized narrative method. According to the selling points of the market, dramas of different types are mass produced, such as lovers and rivals, and the relationship between adversity and prosperity is fixed. Third, the so-called modern quality is often woven into the characters, costumes and plots, and even the popular is mistaken for vulgar, or even irrelevant, to peddle gimmicks, which not only defile the cultural value of the film and the public aesthetic emotion, but also hinder the maximization of commercial interests.

To say the least, even if it is to allocate art for the market, real art, even if it caters to the market too much, will not only bring people gorgeous, spectacular, violence, sex, cheap sensationalism. How many of them should contain some can let a person common hatred, can let each other, can let a person appreciate each other's good feelings. At present, most of the commercial films in China are too secular in their values, while the main theme films are too high-profile and lack the construction and transmission of a mainstream value emotion that can be Shared by all. As a result, these films are at best good movies, but they can never be moving ones. In recent years, one of the main reasons why many commercial films are not recognized by the audience is the lack of ideological and cultural significance, which is mainly reflected in shallow thinking, weak imagination, similar theme, water content, vulgar taste, excessive accommodation to commercial selling points, etc. From this point of view, high box office commercial films, what is missing is just a kind of human value, so it is impossible to really shake the heart. In retrospect of all the classic movies of the past and present, the most memorable ones are not only the stories, characters, scenes and actions, but also the noble human emotions such as love, dignity, responsibility, courage and justice.

Chinese films need to gradually attach importance to the role of "cultivating the promotion mechanism". The "promotion" mentioned here refers to the process of recommendation plus introduction, which is both resultful and focuses on introduction. It is the process of comprehensively promoting the film works to the outside world so that more people can have an in-depth understanding of it.

Most Chinese films, especially the art film, outside the market lack of breeding in promoting mechanism, such a mechanism is not only to let the audience see some submerged by commercial film, high box office in the art of film of the artistic connotation and emotional power, he must let the artistic value of the film art creators to see their, and let them know that this kind of art with the box office, the relationship between the market value. A large number of foreign film festivals, thematic film festivals and art theaters are doing just that. There are relatively few film festivals in China due to its national conditions, and art cinemas are unable to form a climate. Currently, only the MOMA Broadway film center in Beijing is struggling to keep up with art film screenings.

From the perspective of industrial law, in a certain sense, besides providing more artistic products to the market, the film author plays an important role in creating more fresh experience for film art aesthetics. These experiences, however, tend to have little market tolerance and poor audience recognition, and they need to be cultivated through professional channels and methods, rather than simply subject to market inspection.

Film artists have different methods of artistic creation and aesthetic concepts, how to keep the creators of their own creation of aesthetic consciousness, and let the audience to see and understand these films on art and emotional expression way of new breakthroughs, it is need to rely on independent of market cultivation promotion mechanism, the function of osmosis.

"Sticking to the organic unity of ideological, artistic and ornamental nature" is the fundamental way to make Chinese films full of vitality, and "creating more film and television products loved by the masses" is the ultimate goal of Chinese films in the future.

There is no doubt that the existence of thought and spirit makes the art of film have real value and significance. As the thoughts and spirit are built on the value level, Chinese filmmakers must adhere to the value pursuit in film and television creation, enhance the ideological height, consciously spread advanced culture, and make the film works full of the penetration and influence of thoughts.

In the creative field, we should further emancipate our minds, change our ideas, fully respect the laws of art and the laws of the market, and further stimulate the creativity and imagination of domestic films. It must be emphasized that film creation is not a simple market behavior, and each film is an important value output with unique cultural contributions. For this reason, we cannot simply pursue the number of film creation, take the size of production cost as the standard, take stars, novelty seeking and hype as packaging, and take bloody, violent, vulgar and spoof as selling points. To break bureaucrats' backs to roll out a batch of real can stand the test of market, can withstand the audience evaluation, stand, stand the history test of excellent films, on the whole reverse domestic film "hit not clap" the creation of the "win at the box office can't win public praise", works from the source to develop the relations between audience and domestic film, make domestic films to win the sincere love and acclaimed Chinese audience.

Film culture represents the yardstick of a country's spiritual civilization. For China, a country with a population of 1.3 billion and annual output of hundreds of films, it is necessary and inevitable to attach importance to forging the cultural connotation of commercial films and strengthening the ideological strategy of artistic film marketing. How to make future Chinese films gain more audience's support and improve the cultural quality and artistic taste of the whole nation is and will be a very important subject at present and in the future. We think the success of commercial films is largely a matter of standing. For the production of a classic adaptation of the film and television play, if give up the position of intellectuals, just as his conviction, partial mining double personality, and endless gives birth to many perks, this adaptation is essentially subjective idea of modernity to discretion classics, will interfere with the original spirit and involve them in the form of modern life, is no good. Consumption context is not an excuse for intellectuals to evade their responsibilities, but a perfect opportunity for them to lead the trend of advanced culture. Chinese film production should maintain a high sense of historical mission and responsibility, grasp the direction of advanced culture, constantly develop and improve the classical culture, and cast the soul of noble civilization with rooted modernity.

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