新世纪以来，中国电影业在世纪末低潮和改革阵痛中艰难而又快速发展。自改革开放以来，电影观念发生了剧烈的蜕变与革新。在某种意义上说，电影发展史也就是电影观念变革的历史。在电影观念的变革中，电影的关学形态、叙事形态、关学观念等也同时发生重要的变化。立足于中国电影工业观念、艺术观念、文化价值观念等几个重要方面，梳理总结这些观念变革的来龙去脉及其与好莱坞影响的复杂关系，有助于探求中国电影在电影观念剧烈变革和多元并存背景下产业发展与文化创新的道路。

After the low tide of the end of last century , China''s film industry has been developing rapidly amidst the pangs of reform as the new century begins .Radical conceptual changes have occurred since China''s reform and opening up .In a sense, the history of China''s film development is also a history of the evolution of film concept .As the film concept transforms , there are also significant changes in the film''s aesthetics , narra-tive strategy and artistic form .Viewed from a broad perspective that encompasses film industry , film aesthetics and cultural values , this paper looks into the cause and effect of the conceptual changes of China ''s film and seeks to understand the complex relationship between these changes and the influence of the Hollywood movies , the purpose of which is to suggest new direction for the development of China ''s film industry and cultural inno-vation of China''s films in a context of radical conceptual changes and cultural diversity .

高概念电影是电影产业化、商业化视野下的观念性产物，电影产业逐步成熟的背景下以经济上中小投入借助于“大营销”手段实现利益最大化的电影制作。近期热映的电影《小时代》便是高概念电影的典范之作。《小时代》从文学文本的跨媒介改编起便从主题价值探寻、符号隐喻等层面入手窥探高概念电影的特性表达。此外，《小时代》开启了以“粉丝”为目标受众的营销模式，善于制造话题，将网络时代的创意在多屏联动下进行信息轰炸传播。

High concept movie is the conceptual product of movie industrialization and commercialization ,under the background of gradual maturing of the film industry by means of small and medium‐sized investment and “big marketing” to maximize the interests of filmmaking .Recently the hot movie Tiny Time is the model of high concept movie .It explores the characterization of high concept movie ever since its cross‐media adaptation of literary text from perspectives of subject worth ,symbolic metaphor and son on .In addition ,it has opened up the marketing pattern with “fans” as the target audience ,w hich is good at making topics , and transmitting originality in form of information bombing in the network era with the help of multiple water screen .

上个世纪80年代，电影生产出现了新中国成立以来的巨大变革。此次变革以几代电影人创作观念的成熟和中国电影中现实主义的深化作为显著标志。但这种创作模式在新世纪到来之际出现了转型，大量涌现的商业电影多表现出了逃避现实的倾向。现实生活在古装大片和喜剧电影中几近消失，现实主义的创作理念也不再被奉为圭臬。中国电影又一次站在了巨变的十字路口，我们的电影人将做出何种抉择，将用什么样的方式为时代塑像，这会决定中国电影的未来。

In 1980s, huge reforms have taken place in film production since the founding of new China. This change was significantly signed by the mature of creation ideas from generations of filmmakers and the deepening of the realism in Chinese films. But this crea-tive mode came to a transformation in the new century and commercial films coming forth reflected the tendency of escaping from real-ity. The real life almost disappeared in costume and comedy movies, and the concept of realism creation would no longer be the stand-ard. Chinese movies stood once again at the crossroads of radical change, the choice that filmmakers make and the way they use to de-fine time statue will determine the future of Chinese films.

当代城市电影反映了现代文明和传统文化观念之间深刻的矛盾冲突,促使我们反思现代文明的两面性,既在现代意识层次上对传统文明加以重新审视,又站在传统文明中符合理性或人性的一面,对现代文明进行批判,尤其是集中考察现代文明异化作用下城市人的心灵困境,由此引发对当代城市电影中现代文明的深入思考。

This paper reflects the deep conflicts between the cultural values of modern and traditional civilization from the perspective of the study of the contemporaryurban movies,prompting us to reflect on the two sides of modern civilization,re-examining the traditional cultureat the modern consciousness levelandcriticizing the modern civilization standing on the rational or humanside of traditional civilization.Especiallypsyche troubles of theurban peopleare studiedconcentratedby modern civilization alienation,which caused deep thinking of the contemporary urban civilization in the movies.

希区柯克的《精神病患者》是西方恐怖电影中恐怖手段使用的一个分水岭,在之前的恐怖电影中,大多依靠一张恐怖的脸以及围绕这张脸所构成的故事来建构恐怖电影。克尔凯郭尔指出了人类的恐惧与他们的信念相关,外部的未知世界便是恐惧之源,早期恐怖电影中的恐怖之脸来源于人类早期的面具文化,并和启蒙时代的理性精神有关。第二次世界大战之后,西方社会经济的高速发展彻底改变了人们的传统生活方式以及观念,容颜故事一体化的恐怖不再让人感到信服,因此,在希区柯克的影片中出现了以感官刺激为主的恐怖元素。从此,恐怖电影在制造感官刺激的道路上越走越远。

Alfred Hitchcock′s“Psycho”is a landmark in the history of western horror movies.Most of the horror films before this one center on a face of horror and use the face for plot development.In Kierkegaard′s view,horror is closely related to the beliefs that human beings hold and often springs from the unknown external world.The face of horror in early horror films has its origin in the masks of ancient cultures and also has some-thing to do with the rationalism of the Enlightenment.After the World War II,the fast economic development in western countries has radically changed the traditional way of life and thinking.The formula of horror face story was no longer effective in creating horror effects.Hitchcock thus incorporated in his films elements of sen-sory stimulation.Since then,the horror film has embarked on the journey for more effective sensory stimula-tion.