新时代的好故事从何处寻

——寄语当代电影编剧

Where is the good story of the new age

-- to contemporary movies

　　559.11亿，中国电影再度交出漂亮成绩单。这是一个有温度有含义的数字。某种程度上，读懂它，也就读懂了中国电影的成绩与短板，读懂了中国故事与电影发展的深切勾连。

　　斩获56.83亿票房的《战狼Ⅱ》让众多观众热血沸腾；直面历史伤疤的《二十二》成了票房破亿的现象级纪录片；《芳华》《妖猫传》两部“第五代”导演新作烧热贺岁档……回望2017，我们发现，不断扩容的市场，不仅意味着数字增长、银幕延伸，更渴求精彩的中国故事来支撑。

　　作为一剧之本的编剧，如何为大银幕输送好故事？在创作链条中最具首创精神的编剧，如何与资本逻辑共舞，做出新时代的文化表达？在中国艺术研究院举办的电影电视评论周论坛，成为编剧、评论家、理论家三方求解的话题。

　　文学精神是电影核心竞争力

　　“我们一些电影叙事重故事、轻人物，经典类型的叙事经验仍然是中国电影的短板。”北京电影学院教授钟大丰在会议发言中说。

　　这不是我们第一次听到如此评价。电影《老炮儿》上映时，导演管虎在接受采访时曾说：“我的小野心是给中国电影史留下几个人物。因为我们的电影大多数老谈故事，故事之后是IP，然后是赚钱，这几年几乎想不到留下什么人物。”这似乎也不只是电影的难题。2014年，我采访编剧高满堂，同样听到类似的感慨：“回想这一年的电视剧，你能记住哪些人物？大多数都是类型化的，个性面貌都差不多。但我们今天能忘记李双双、李有才、梁生宝吗？我们现在都在开着情节的列车狂奔，但人物还留在始发站。中国每年有一万多集电视剧，留不住人物形象，是个问题。”

　　一方面是缺乏令人印象深刻的人物形象，另一方面是情节的碎片化、段子化，这是一体两面的问题。一些由热门IP改编的影片，主人公的台词直接引用原著，有的甚至直接引用网络段子。段子消费了观众的情感和关注，故事的情感表达和叙事逻辑却变得零碎不堪、气若游丝。还有的以主观式意愿、情绪化表达、意向式拼贴，以场面、技术和明星，取代故事主体。一部影片看下来，除了场面、段子就是明星面孔，剧情和人物难以让观众留下印象，就更别提情感共鸣甚至审美体验。

　　造成碎片化和轻人物的原因有多方面。市场偏重题材、偏重故事，对传记电影缺乏热情；而回到剧本，编剧缺乏精耕细作，对生活的体认提炼不足，难以塑造真正俘获观众的人物，也是一个重要原因。最高人民法院影视中心主任田水泉在论坛上讲，他经常接待编剧和导演去法院体验生活，一些创作者走马观花，了解一下整体情况，开个座谈会，就回去创作了。“比如写《纸牌屋》，如果对政权体系的了解不够深，即便有再高的编剧技巧，也很难写到深入人心。这是创作者自身的问题。”

　　碎片化和轻人物，还意味着对文学的背弃。“文学语言是想象的起点，电影语言是想象力的终点。没有文学性的电影就如同无源之水。”《滚蛋吧！肿瘤君》的编剧袁源举了《红高粱》《芳华》《心理罪》《星际穿越》做例子，她认为优秀影片大多脱胎于严肃文学，网络文学带来影视界IP“高烧”，网络文学的碎片化、快餐化等弊端同步被移植到电影创作中，值得警惕。

　　电影虽然具有经济属性，但毕竟是内容产品。人物塑造、情节设置、艺术表达、意蕴传递，是电影的内容属性，也是文学的精神要素。优秀电影总是站在文学巨人的肩膀上，它们不断提醒后来者：文学精神、文学气质始终是电影的核心竞争力。

　　故事格局与创作情怀有关

　　“故事是生活的比喻”。这是好莱坞编剧麦基的名言。在那本影视业人尽皆知的《故事》里，麦基写到了故事的衰竭。美国好莱坞在上世纪90年代开始暴露这一问题：电影工业化程度越来越高，电影作品越来越多，故事反而越来越单调、平庸、模式化；好故事越来越少，漏洞百出和虚假的故事手法越来越多，人们用奇观来取代实质，用诡异来取代真实。

　　而在中国，最近40年的社会变革带来了人们生活和思想的巨大变化。生活极尽精彩，故事也层出不穷。在北京大学艺术学院教授李洋看来，我们当前一个突出的现象是大故事贫弱、小故事兴起。“《战狼Ⅱ》是大故事，中国观众都能够看懂理解并认同；《闪光少女》属于小故事，聚焦一小部分人群的趣味和生活。”他认为，模式化编剧相对容易，真正深入生活写出脱胎于时代、反映时代精神的大故事才最为考验水平。

　　这些年，中国电影类型化、多样化发展引人注目。动作片、青春片、喜剧片、悬疑片成了市场的主打类型，但讲述中国大故事的主流电影同时获得口碑票房双赢的，却屈指可数。2017年除了《战狼Ⅱ》，还有《建军大业》《空天猎》《十八洞村》等几部，但放在国产电影全年798部故事片的基数上来看，仍显单薄。

　　当前类型编剧发展不平衡的另一个表现是，都市题材的编剧阵容比较大，工业题材、农业题材、法制题材的创作数量不足。特别是重大历史现场的缺位。城中村改造、脱困攻艰、“一带一路”等正在进行中的重大历史现场，目前还没有产生公认的精品力作。我们的时代正处于大的历史转型时期，但编剧没有介入和反映重大历史现场，这是一个值得关注的问题。

　　“之所以创作不出具有宏大叙事格局的影片，可能跟创作者自身的思想深度、格局情怀，甚至美学素养有关。什么是正确的价值观？什么是错误的价值观？什么是美的？什么是丑的？如果电影创作者本身不清楚，就表达不出来，也无法传递给观众。”田水泉说。

　　构建中国电影的文化体系

　　“在好莱坞大片的阴影下，中国的国产电影常常要面对巨大挑战。我们理应考虑对中国电影传统的传承，也要考虑失去独特价值观和美学的潜在风险。”前不久，张艺谋在美国《纽约时报》撰文《从中国看好莱坞，是什么样子？》，不无焦虑地提出问题。

　　这也是编剧、理论家、评论家共同的担忧。“与电影相比，话剧同样是舶来品。直到老舍先生写出《茶馆》，这门源自于古希腊的艺术才初步完成了中国化移植。时至今日，《茶馆》依然是北京人艺的保留剧目，它能够拥有长久生命力，在于老舍写进了中国人自己的怯懦与悲鸣。东方式的人情包裹住了西方式的表达，成就了一出经典。”电影《相爱相亲》编剧游晓颖追问：今天的中国电影，应该承载怎样的内核，建构怎样的文化体系？

　　“好莱坞历经百年建立了自己的一套文化体系，这恰恰是我们的弱项。”钟大丰认为，武侠电影提供了很好的经验，江湖门派、武林规则、侠者风范构成了武侠世界观，大家都在讲武侠故事，在这个体系里不断创造创新。他认为，玄幻可能会成为一个新的体系。“《长城》和最近的《奇门遁甲》《妖猫传》，都在建立各自的体系，但没有呼应起来，而且这套体系很大程度依赖西方的技术、叙事、审美经验。于是，我们看到武打越来越像日本，怪兽越来越像好莱坞，我们何不回到自己的文化传统？比如，依据《水浒传》《西游记》《封神演义》等建构中国人的想象空间。”

　　2017年，一些非好莱坞叙事让中国观众耳目一新。印度的《摔跤吧！爸爸》、泰国的《天才枪手》、西班牙的《看不见客人的房间》，都是将类型电影的叙事法则与本国国情、文化结合，形成了独特的叙事空间。“今天我们需要考虑的是，什么是中国电影的叙事空间？这是不是一个可拓展的空间？”《不成问题的问题》编剧梅峰提出。

　　叙事空间的展开和文化体系的建构，必然牵扯到方方面面。比如，个人表达与市场需求，影像文本与社会现实，常规叙事与观众审美的需要等。但有一点，我们不能忽视：学步的时候，不要忘记我们最宝贵的东西。不要想着讨好市场，也不要想着讨好观众，做一个真诚的讲述者才能与世界沟通。

　　2018年的大幕拉开，从电影大国走向电影强国征程中的中国电影人，满怀信心的同时也要认清不足、踏实前行。市场越庞大，越渴求精彩的中国故事。这故事源自生活、折射时代、传递价值，也承载着新时代电影人的使命与担当。中国电影的幸福由奋斗而来！

来源：人民网

Where is the good story of the new age

-- to contemporary movies

55 billion 911 million, Chinese films re - deliver beautiful report cards again. This is a number that has the meaning of temperature. To some extent, read it, and read the achievements and short boards of Chinese films, and read the deep connection between Chinese stories and the development of films.

The wolf gains 5 billion 683 million at the box office "II" let the audience excited; face the scars of history "twenty-two" into the box office breaking 100 million level documentary; "Youth" "demon cat biography" two "fifth generation" Directors hot new lunar new year stalls...... Looking back at 2017, we found that the continuous expansion of the market not only means digital growth, screen extension, but also a craving for wonderful Chinese stories to support.

As a screenwriter of the play, how do you deliver the story for the big screen? In the creative chain, how to dance with the capital logic to make a new era of cultural expression? The forum of the film and television review Week held by the Chinese Academy of Arts and research has become a topic for the three parties of writers, critics and theorists.

The spirit of literature is the core competitiveness of the film

"Some of our film narratives are storytelling and light characters, and the narrative experience of classic types is still a short plate of Chinese films." Zhong Dafeng, a professor at the Beijing Film Academy, said in a speech at the conference.

This is not the first time we have heard such a comment. When the film "old gun" was released, director Guan Hu said in an interview, "my ambition is to leave some people in the history of Chinese film. Because most of our movies are old stories, after the story is IP, then it's making money, and in these years it's almost impossible to leave a person. It doesn't seem to be just a movie problem. In 2014, I interviewed the playwright in a high school, and I also heard a similar feeling: "what are the characters you can remember when you look back on this year's TV series? Most of them are typed, with the same personality. But can we forget Li Shuangshuang, Li Youcai, Liang Shengbao today? We are all running on the train in the plot, but the characters are still at the departure station. There are more than 10000 episodes of TV series in China every year. It is a problem to keep the image of the characters. "

On the one hand, it is the lack of an impressive figure, on the other hand, the fragmentation and paragraph of the plot, which is one of the two problems. Some films adapted from hot IP, the protagonist's lines directly quote the original, and some even direct the network paragraph. The consumer piece audience's emotion and attention, emotional expression and narrative logic of the story has become fragmentary, qiruoyousi. There are also subjective will, emotional expression, intentional collage, with scenes, techniques and stars to replace the subject of the story. A movie can see that apart from scenes and personas, stars and faces are hard to impress the audience, let alone emotional resonance or even aesthetic experience.

There are many reasons for the fragmentation and the light of the characters. The market on the theme, emphasis on story, lack of enthusiasm for the film biography; and returned to the script writers lack of life awareness intensive and meticulous farming, refining the shortage, difficult to shape the really captured the audience, is also an important reason. The Supreme People's court and center director Tian Shuiquan at the forum, he often received written and directed to go to court to experience life, some creators fly, know about the overall situation, open a forum, go back to the creation. "For example," card house ", if the understanding of the system of political power is not deep enough, even if there is a high level of screenwriter skills, it is difficult to write deeply into the hearts of the people. This is the author's own problem. "

The fragmented and light characters also mean the abandonment of literature. "Literary language is the starting point of imagination, and the film language is the end of imagination." A film without literature is like a passive water. " "Get out of it! "The writer yuan Jun tumor source for" Red Sorghum "" green "" "" star crossed "psychological crime as an example, she thinks outstanding film is mostly derived from the serious literature, network literature about the film and television industry IP" high fever ", fragmentation, fast synchronization problems such as network literature is transplanted to the creation of the film worthy of attention.

Although the film has economic properties, it is a content product after all. Portrayal, plot, artistic expression and meaning transfer are the content attributes of the film and the spiritual element of literature. Excellent films always stand on the shoulders of the literary giants. They constantly remind the later people that the spirit of literature and literary temperament are always the core competitiveness of the film.

The story pattern is related to the creative feelings

"The story is the metaphor of life". This is the famous motto of the Hollywood screenwriter, Mcgee. In the story of the movie industry, Mcgee wrote the story. The Hollywood began to expose this problem in the last century in 90s: the movie industrialization degree more and more high, more and more films, the story became more and more monotonous and mediocre pattern; good stories and fewer false stories and Its loopholes appeared one after another. way more and more, people are used to replace the wonders of essence, with strange place of the real.

In China, the social changes in the last 40 years have brought about great changes in people's lives and ideas. Life is so wonderful that stories emerge in an endless stream. In the opinion of Professor Li Yang of Peking University College of art, we present a prominent phenomenon is the rise of the big story, poor little story. "The wolf" II "is a big story, the audience can understand and understand Chinese identity;" flash girl "belongs to a small story, focusing on a small part of the population of interest and life." In his opinion, patterned screenwriters are relatively easy