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class="time">時(shí)間：2023-03-18 20:09:58 </span> <span id="5vajrimf" class="sm_after_time"></span> <span id="5vajrimf" class="source"><a target="_blank" href="http://m.1-jiu.com/biyelunwen/fanwen/yishuxuebiyelunwen/" title="藝術(shù)學(xué)畢業(yè)論文">藝術(shù)學(xué)畢業(yè)論文</a></span> <span id="5vajrimf" class="source"><a target="_blank" href="http://m.1-jiu.com/usr/login.html" title="我要投稿">我要投稿</a></span> </div> <script type="text/javascript">s("content_top");</script> <div id="5vajrimf" class="content"> <div id="5vajrimf" class="excellent_articles_box"> <ul> <li id="5vajrimf" class="excellent_articles_title">相關(guān)推薦</li> </ul> </div> <p>淺談?dòng)耙曃幕瘜徝榔肺?/p> <p>　　<strong>【內(nèi)容提要】</strong></p><p>　　審美情趣日趨多元化，影視文化日益成為審美文化主流;審美文化的市場(chǎng)化、商業(yè)化，使受制于收視率、票房率的影視文化出現(xiàn)類型化、單一化等傾向，抑制著影視文化的質(zhì)量提升和多樣化的繁榮。影視業(yè)必須重新建構(gòu)自己的美學(xué)特征，特別是從文學(xué) 藝術(shù) 中吸取精華，才能提高藝術(shù)品味，獲得藝術(shù)生命。</p><p>　　社會(huì) 的發(fā)展使當(dāng)下的審美情趣日趨多元化，使影視文化日益成為審美文化主流;但審美文化的市場(chǎng)化、商業(yè)化發(fā)展，又使受制于收視率、票房率的影視文化出現(xiàn)類型化、單一化等傾向，這些傾向抑制著影視文化的質(zhì)量提升和多樣化繁榮。在這樣的大趨勢(shì)下，影視業(yè)必須重新審視自己的審美價(jià)值體系，特別是從文學(xué)藝術(shù)中吸取精華，才能提高藝術(shù)品味，獲得藝術(shù)生命。</p><p>　　<strong>一</strong></p><p>　　影視文化之所以成為當(dāng)代審美文化的主流，最主要的原因是現(xiàn)代高科技的發(fā)展提供了影視視覺(jué)文化的廣泛傳播的可能，但這也與現(xiàn)代人的生存方式有關(guān)。城市化、都市化的擴(kuò)展使現(xiàn)代人之間越來(lái)越隔膜、越來(lái)越陌生。這就使得人與人之間的交往、對(duì)話和溝通越來(lái)越成為一種迫切的需要;而這種交往、對(duì)話和溝通的最簡(jiǎn)便的方式便是通過(guò)直接的形象欣賞。當(dāng)代審美文化也就適應(yīng)人們的這一生存方式而向視覺(jué)文化轉(zhuǎn)化�，F(xiàn)在人們到處可以看到形象，感受到形象，甚至觸摸到形象。有的研究者將這種形象稱之為“意象形態(tài)”，作為意識(shí)形態(tài)的對(duì)舉形態(tài)而出現(xiàn)，這深刻地概括了當(dāng)代審美認(rèn)知從“反映”到“反應(yīng)”，從理性愉悅到感性?shī)蕫偟霓D(zhuǎn)變。以“意象形態(tài)”為其表征的審美文化當(dāng)仁不讓地在社會(huì)審美文化舞臺(tái)上成為主角，那些業(yè)已成為當(dāng)前人們生活方式、生存范式所必不可少的享受需要的電視、電影、卡拉0K、MTV、廣告藝術(shù)、時(shí)裝表演等，正是意象形態(tài)的基本承載主體。在高度緊張忙碌的現(xiàn)代都市生活中，快節(jié)奏、高速率改變了人們的時(shí)間概念，多數(shù)人已無(wú)暇去淺吟低唱、品嘗玩味，去細(xì)細(xì)咀嚼、推敲和尋索那些潛藏在語(yǔ)詞和概念背后的意蘊(yùn)，無(wú)暇進(jìn)行精細(xì)的心靈內(nèi)省和思想反芻。“形象”能夠消除以往人們對(duì)待外部事物的距離感和隔膜感，例如電視幾乎能將整個(gè)世界的“形象”搬進(jìn)人們的客廳和臥室。精采紛呈的電視圖像使觀眾的審美需求得到很大的滿足，極大地豐富了家庭生活。</p><p>　　審美情趣日益多元化和視覺(jué)文化成為審美文化主流的發(fā)展趨勢(shì)，不斷向影視業(yè)提出新的要求，也不斷為影視業(yè)的發(fā)展提供了新的空間。人們審美情趣的多元化發(fā)展要求影視業(yè)提供盡可能豐富的審美文化品種，滿足不同的審美文化需求。</p><p>　　<strong>二</strong></p><p>　　當(dāng)前世界影視文化在經(jīng)濟(jì) 全球化趨勢(shì)的影響下，已經(jīng)完全進(jìn)入商業(yè)化運(yùn)作軌道。改革開(kāi)放中的中國(guó) 影視文化一方面受全球影視業(yè)商業(yè)化的影響，一方面受國(guó)內(nèi)改革，特別是業(yè)內(nèi)改革的影響，也越來(lái)越商業(yè)化了。商業(yè)化一方面為影視業(yè)的快速發(fā)展提供了內(nèi)在的不竭動(dòng)力，為影視生產(chǎn)的多樣化提供了動(dòng)力資源，促進(jìn)了影視產(chǎn)品的多元化發(fā)展;但另一方面，一切以利潤(rùn)為中心的影視業(yè)也出現(xiàn)了一些值得我們高度關(guān)注的、抑制影視文化多樣化健康發(fā)展的不良傾向，即在影視審美情趣多元化的總體趨勢(shì)下，也呈現(xiàn)出一些影視作品類型化、單一化等不良傾向，嚴(yán)重影響著影視審美藝術(shù)的發(fā)展，影響著影視藝術(shù)的質(zhì)量提升，影響著影視文化的社會(huì)功能的健康發(fā)揮。主要表現(xiàn)在以下幾個(gè)方面:</p><p>　　（一）在商業(yè)化的影響下，影視產(chǎn)品越來(lái)越呈現(xiàn)出新的類型化</p><p>　　觀眾審美情趣的多樣性決定了影視制作的多樣化。這既是大眾審美文化豐富性的要求，也是影視作為一種藝術(shù)審美形態(tài)的要求。藝術(shù)的審美價(jià)值首先在于鮮明生動(dòng)的個(gè)性化。電影電視藝術(shù)作為一種審美形態(tài)，只有具備鮮明獨(dú)特的個(gè)性特征，才能獲得真正的美學(xué)價(jià)值。歌德指出，“顯出特征的藝術(shù)才是唯一真實(shí)的藝術(shù)。只要它是從內(nèi)在的、專注的、注重個(gè)性的、獨(dú)立的感情出發(fā)，來(lái)對(duì)周圍事物起作用，對(duì)不相干的東西毫不關(guān)心，甚至意識(shí)不到，那么，不管它是出于粗獷的野蠻人之手也好，還是出于有修養(yǎng)的敏感的人之手也好，都是完整的，有生命的” ① 。然而，影視作為大眾文化傳播的主要方式，其審美情趣多元化發(fā)展又在一定程度上受制于收視率、票房率等影視市場(chǎng)機(jī)制的影響。影視的產(chǎn)業(yè)化發(fā)展勢(shì)頭要求把收視率、票房率作為影視生產(chǎn)的重要導(dǎo)向。影視的市場(chǎng)實(shí)踐證明，只有滿足數(shù)量最大的一類觀眾群的需求，才能獲得最大的收視率和經(jīng)濟(jì)效益。而類型化的電影作品可以有效地避免創(chuàng)新所致的商業(yè)風(fēng)險(xiǎn)，避開(kāi)文化市場(chǎng)競(jìng)爭(zhēng)中的不利因素。哥倫比亞廣播公司節(jié)目部主任米契爾·丹曾指出，一個(gè)節(jié)目的成功與否僅僅根據(jù)其在收視率方面的競(jìng)爭(zhēng)情況，而3/4以上的新節(jié)目注定要失敗。這表明，審美品味的創(chuàng)新意味著要承擔(dān)很大的風(fēng)險(xiǎn)，所以電影電視節(jié)目都傾向于模仿過(guò)去的成功作品，以保證收視率和經(jīng)濟(jì)效益。在收視率競(jìng)爭(zhēng)日益激烈的社會(huì)氛圍中，電視審美品味不迎合最大數(shù)量的觀眾的需求是不現(xiàn)實(shí)的。正如，美國(guó)電視制片人F.齊夫指出，“我們?nèi)己芰私饷绹?guó)公眾的口味，他們需要的是消閑的娛樂(lè)品……我們不搞高雅的東西，我們的產(chǎn)品要面向最大多數(shù)的觀眾。他們是電視機(jī)的最大買主。他們買了電視機(jī)，啤酒商就會(huì)來(lái)找電視臺(tái)了。啤酒商需要吸引的是卡車和出租車司機(jī)，普通人，他們對(duì)那些少數(shù)人喜歡的歌劇、芭蕾和交響樂(lè)不感興趣” ② 。為此，好萊塢生產(chǎn)的電影幾乎完全按照若干成功作品模式進(jìn)行類型化制作，并擴(kuò)展成一種全球性的影視生產(chǎn)模式。</p><p>　　在這種世界模式的影響下，中國(guó)影視圈也呈現(xiàn)出嚴(yán)重的類型化傾向�！皯蛘f(shuō)熱”、“紀(jì)實(shí)熱”、“宮廷戲熱”、“武打熱”等類型化現(xiàn)象層出不窮。近幾年來(lái)，中國(guó)影視業(yè)發(fā)展迅猛，出現(xiàn)了一批具有較高審美品味的作品，如《牽手》、《圍城》等，但是從總的方面看，審美品味高、藝術(shù)創(chuàng)新大的精品電視劇太少，而類型化、雷同化的電視劇居多，審美情調(diào)單一化現(xiàn)象嚴(yán)重。例如，我國(guó)影視圈曾一度興起宮廷戲熱，一打開(kāi)電視機(jī)，粉墨登場(chǎng)的將相帝王、皇后公主、皇嬪皇妃，盡收眼底。其中一些作品審美品味低下，藝術(shù)價(jià)值不大。與此同時(shí)，青少年題材、工業(yè) 題材、部隊(duì)題材等反映邊緣領(lǐng)域的電視作品則明顯偏少。這表明，我國(guó)影視審美類型化問(wèn)題也日益嚴(yán)重，亟待改善。</p><p>　�。ǘ┰谏虡I(yè)利益的誘導(dǎo)下，部分影視作品過(guò)分追求感官刺激，迎合庸俗低級(jí)趣味，致使影視文化中暴力和色情泛濫</p><p>　　暴力對(duì) 社會(huì) 的危害早已成為全世界的共識(shí)，然而，它卻常被影視界用作提高收視率的重要法寶。據(jù)統(tǒng)計(jì)，美國(guó)每10集電視劇中平均有8集包含暴力內(nèi)容 ;每1小時(shí)的電視節(jié)目中平均出現(xiàn)7次暴力情境;每周電視節(jié)目中平均會(huì)出現(xiàn)600次暴力情境。對(duì)于發(fā)展中國(guó) 家來(lái)說(shuō)，影視暴力內(nèi)容也非常突出。這些暴力內(nèi)容雖然不會(huì)立刻對(duì)社會(huì)發(fā)生消極作用，卻潛移默化地影響著社會(huì)的安定。據(jù)犯罪心理學(xué) 家調(diào)查表明，大部分惡性兇殺案的制造者都熱衷于觀看暴力影視節(jié)目。在影視暴力現(xiàn)象日益嚴(yán)重的美國(guó)，現(xiàn)實(shí)社會(huì)的暴力事件也泛濫成災(zāi)。據(jù)美國(guó)司法部部長(zhǎng)的一份聲明指出，由于影視暴力的影響，搶劫、兇殺等暴力犯罪在美國(guó)青少年中呈增長(zhǎng)趨勢(shì)。為此，美國(guó)聯(lián)邦電信委員會(huì)于1998年3月批準(zhǔn)使用V型芯片技術(shù)，便于父母鎖住有暴力和色情傾向的電視節(jié)目。2000年起，美國(guó)所有電視機(jī)用戶都要求使用V芯片。</p><p>　　色情泛濫也是當(dāng)今西方影視界所面臨的一個(gè)嚴(yán)重問(wèn)題。自從美國(guó)政府對(duì)影視色情的控制放松后，好萊塢電影的色情化傾向已經(jīng)非常嚴(yán)重。與其說(shuō)好萊塢電影在向全球傳播美的理念，還不如說(shuō)成是性的理念。正如科</p><script>s("content_relate");</script><p>【淺談?dòng)耙曃幕瘜徝榔肺丁肯嚓P(guān)文章：</p><p><a target="_blank" href="http://m.1-jiu.com/biyelunwen/fanwen/wenhua/611693.html" title="中國(guó)影視文化貿(mào)易現(xiàn)狀及原因分析論文">中國(guó)影視文化貿(mào)易現(xiàn)狀及原因分析論文</a><span>04-21</span></p><p><a target="_blank" href="http://m.1-jiu.com/biyelunwen/fanwen/yishuxuebiyelunwen/299979.html" title="網(wǎng)絡(luò)藝術(shù)的后審美范式">網(wǎng)絡(luò)藝術(shù)的后審美范式</a><span>11-18</span></p><p><a target="_blank" href="http://m.1-jiu.com/biyelunwen/fanwen/wudaolunwen/424319.html" 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