上海的电影创作之所以在新的历史时期落寞沉寂,是因为它作为中国电影的重要组成部分与中国民族电影一样,无法面对电影全球化、产业化和国际市场化的严峻挑战。所以说,讨论海派的影视创作,尤其是电影创作,便不能狭隘地站在本地的立场而应当站在一个大的民族电影立场和大的民族文化立场。很多专家学者往往站在一种地域文化的角度,相对于所谓“京派”或“岭南派”界定海派影视,将海派影视作为一种地域产品加以研究并试图对创作进行舆论导向,而创作人员也往往力争在描述展现上海的人情风貌和人文心态上做文章。这种理论思考和创作心态有其道理,但我们若只是针对于“京派”或“岭南派’进行一种地域创作,无形中就将上海的电影创作当作一种 The reason why Shanghai’s filmmaking was lonely and quiet in the new historical period is because it, as an important part of Chinese cinema, can not face the harsh challenges of globalization, industrialization and international marketization of the movie, just like Chinese national films. Therefore, discussing Shanghai’s film and television creations, especially the creation of films, can not stand narrowly on the local side but should stand on a large national film stand and a large national cultural stand. Many experts and scholars often stand in the perspective of a regional culture, compared with the so-called “Beijing School” or “Lingnan School” to define Shanghai Film and Television, Shanghai Film and Television as a regional product to study and attempt to guide the creative media, and creative staff Often strive to describe the show’s human style and humanistic attitude to make a fuss about Shanghai. This kind of theoretical thinking and creative mentality makes sense, but if we only focus on the “Beijing School” or “Lingnan School” to carry out a kind of geographical creation, we virtually regard Shanghai’s filmmaking as a kind