新世纪以来50多部青春校园电影研究

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新世纪以来 50 多部青春校园电影研究

　　摘要

“ ”盘点新世纪以来大陆青春校园电影，电影创作者跨越了特殊时期意识形态思想倾向的约束，

以传播中华文明五千年历史文化的沉淀为己任，传承延伸大陆电影艺术精华为责任，将镜头对

“ ” “ ”准当下流行文化与娱乐元素 , “ ” “ ”以不同与往时的青春回忆为主线、隐含观众 ,通过拍摄把当

下青春校园学子生存状态及彷徨与梦想渗透在作品中；塑造的人物主要针对中学、大学青春校

园群体，较真实地展现了大陆各个时期青春校园文化的特征，缩短了观众与电影的距离。

叙事母题以成长主题、励志主题、友情主题、亲情主题、怀旧主题、爱情主题等形式展开，虽

然大陆青春校园电影没有明确的类型划分，但是每部电影仍然以不同时期的青春校园、以不同

方式延续着大陆古老的文明与文化，而且在不断丰富、不断成熟、不断完善。影片模式化结构

得以推进，人物形象凸显真实、生活化；服装设计接近影片塑造的人物气质、环境、时代；场

景力图观影者熟悉；而且在语言方面融入了地方方言对白，更能体现影片真实性与艺术性，基

本反映出电影层面上意义深刻的内涵。视听艺术轻松、自然、朴实，以光影的变化与颜色的对

比等技巧对画面进行朴实处理，给观众带来了不一样的心理效应，而且画内画外音乐定位比较

到位。在创作艺术技巧上突破了原来大陆电影、去刻意追求塑造绚丽的画面，盲目地去营造视

听上的冲击，部分电影开始逐步向浪漫、娱乐性靠拢；在传统理念情感上穿越了模式、导演、

演员等条条框框的束缚，部分导演把这个时期青少年所不同与往时的青春回忆展现在大众面

前，有苦涩的味道、也掺杂着一些对青春的无奈，放置于特殊环境，使大陆青春校园电影走上

了追求朴实、无华、真实地传播中华文明与文化发展之路，观众随着电影能寻找到自己过去的

身影，唤起对青春校园生活的眷恋，回味校园电影带来的享受。

“ ”新世纪以来大陆青春校园电影新势力的崛起，说明观众开始追求精神层次意义电影的深刻内

“ ”涵；而且观众解读电影叙事系统急速改变，也意味着中国电影的换代趋势的出现；并且大陆

“ ” “ ”青春校园电影的创作层面已经不是形式和成规,而是意义表达的层面，即影片的意义指向以

及意义呈现效果（效率）的层面；此时，电影以中小成本投入在大陆电影市场票房一路飘

“ ”升，青春校园电影作为此前并未受到重视的一种类型电影，正在开启属于它的时代。

【关键词】青春校园叙事系统隐含观众视听艺术娱乐文化

　　 Abstract

Reviewing of the mainland youth campus films in the newcentury, film producers got rid of the

constraint of theideological tendency in particular historical period to regardboth the spreading of the

quintessence of the Chinese 5000years civilization and the Inheritance and extension of theessence of

film art as their responsibility. They focused oncontemporary “pop culture” and “entertainment

elements” andestablished the main line of “the memory of youth” that isdifferent from the past.“

implied audience”, By shooting thecontemporary youth campus stories, students state of life,hesitation

and dream were sufficiently emerged in the works.

Characters mainly aimed at the middle school, universitycampus youth groups, which truly showed the

characteristics ofyouth campus culture in each period to connect the audiencewith the film closely.

Narrative melodies were unfolded togrowth theme,inspirational theme, theme of

friendship,kinship,love and nostalgia. Although the mainland youth campusfilms are not clearly

divided into types, each film is stillcontinuing with ancient civilization in various stages of

youthcampus in different ways,and also constantly enriching,improving and growing to mature. Film

mode structures arepromoted gradually and the character images are presented tothe reality and life.

Costume design is consistent with thecharacter temperament, environment and age, and scene issought

for the familiarity to the audience, and the local dialectsare added in the aspect of the language, which

demonstratesmore authenticity and artistry of the film and basically reflectsthe profound connotation

in film levels. Audio-visual arts arerelaxing, natural and simple, giving the audiences

variouspsychological effects by the simple application of skills such asthe change of light and the

color contrast, and music orientationis relatively suitable as well. In the creation of artistic skills,

theprevious mainland films styles in which the gorgeous screenswere sought deliberately and audio-

visual impact was blindlycreated were broken through, partly coming close to romanceand

entertainment. In addition, the traditional emotion conceptwere not only the director and the actor, new

youth memories ofthe teenagers in this period, which was mixed with bitter tasteand the youth

helpless, were displayed in public by somedirectors. In the special environment, the mainland

campusyouth films embarked on the pursuit of simplicity and reality ofcampus life in order to promte

the development of the Chinesecivilization and culture, meanwhile, the audiences can find theirown

past figures, arouse the deep attainment to youth campuslife and fully enjoy the films.

It is implyed that the audience began to pursue the profoundmeaning of the film in the spiritual level

by the rise of youthcampus films “new power” in the new century. The audiencenarrative system of

the film interpretation rapidly changed,which means that the Chinese movie “updating” trends

appeared.

The mainland campus youth films in the creation level payedmore attention to the significant

expression of the meaning,neither the “form” nor the “rule”. Meanwhile, the box office offilms with

small investment in the mainland market is increasingall the way so that “youth campus film” not

noticed seriouslybefore is opening its age.

【Key Words】campus youth the narrative system the implied audienceaudio-visual art entertainment

culture

绪论

1 新世纪以来大陆青春校园电影的研究和思考

1.1 大陆青春校园电影定义的诠释

1.2 新世纪以来大陆青春校园电影研究现状

1.2.1 大陆青春校园电影单个电影研究概况

1.2.2 大陆青春校园电影整体研究现状

1.3 研究大陆青春校园电影的价值和意义

2 当代大陆青春校园电影的发展历程

2.1 当代青春电影溯源

2.2 十七年青春电影

2.2.1 政策与环境

2.2.2 各个阶段的艺术特点和电影

2.2.3 值得借鉴的艺术特征

2.2.4“ ”十七年电影的缺陷

2.3 文革十年青春电影

2.3.1 政策与环境

2.3.2 重要的特点及电影

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摘要：

新世纪以来50多部青春校园电影研究　　摘要“”盘点新世纪以来大陆青春校园电影，电影创作者跨越了特殊时期意识形态思想倾向的约束，以传播中华文明五千年历史文化的沉淀为己任，传承延伸大陆电影艺术精华为责任，将镜头对“”“”准当下流行文化与娱乐元素,“”“”以不同与往时的青春回忆为主线、隐含观众,通过拍摄把当下青春校园学子生存状态及彷徨与梦想渗透在作品中；塑造的人物主要针对中学、大学青春校园群体，较真实地展现了大陆各个时期青春校园文化的特征，缩短了观众与电影的距离。叙事母题以成长主题、励志主题、友情主题、亲情主题、怀旧主题、爱情主题等形式展开，虽然大陆青春校园电影没有明确的类型划分，但是每部电影仍然以...

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