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这种矛盾性其实是郭敬明的内在的复杂性的所在,也是赞美和厌恶的来源。今年暑期《小时代》和《小时代2》连续上映,这变成了一个“事件”。一面是粉丝的热捧,一面却是激烈的抨击。一面是电影院中的观影人流:一面是媒体的口诛笔伐:一面是飙高的票房,一面却是文艺爱好者和评论者的尖刻的嘲讽。郭敬明导致了某种舆论的分裂。这种分裂贯穿于从纸媒到互联网和移动互联网的整个舆论。这里似乎一面是代际的分裂,年轻人和老一代在郭敬明的面前态度产生了严重的分歧。在老一代抨击他的作品的时候,年轻的粉丝是支撑起他的最主要的人群。另一面是趣味方面的分裂,一面是有更为专业的文艺趣味的人往往对于郭敬明的电影持批评态度,而许多普通的年轻人却是郭敬明的拥趸。我们可以看到,2013年所上映的具有代表性的电影,常常是以“怀旧”的方式对于今天的中国的来路进行探究。
This contradiction is actually the inherent complexity of GJM, as well as the source of praise and dislike. This summer’s “Little Era” and “Little Era 2” were released in succession, which turned into an “incident”. On the one hand, fans touted, but it is a fierce attack. On the one hand, it is the cinematographer’s flow of cinema: on the other hand, the media is vocal: one is the soaring box office, the other is the sharp sarcasm of literary amateurs and commentators. Guo Jingming led to some kind of split in public opinion. This split runs through the entire media from paper media to the Internet and the mobile Internet. It seems that on one side there is a split between generations, with serious disagreements between young people and the older generation in the attitude of GJM. As the older generation attacked his work, young fans supported him as the most important group of people. The other side is the split of fun. On the one hand, people who have more professional literary tastes often hold a critical attitude toward GJM. Many ordinary young people are fans of GJM. We can see that the representative films released in 2013 often probe into the future of China today by way of “nostalgia.”