摘要:近年来，多部经典小成本电影横空出世，在取得不菲票房的同时也引发人们对其发展的广泛关注。本文通过结合国内外小成本电影创作生产经验，从题材类型、商业运作机制、青年导演培养、电影受众等多个方面出发，以马俪文的电影为例，探讨小成本电影如何“以小搏大”，并寻找其创作规律。

　　　通过对我国小成本电影的“夹缝”困境进行具体分析，本文明确指出了造成小成本电影困境的三大主要因素：即创作环境因素、电影产业因素与受众因素。在此基础上，本文对未来小成本电影的创作提出了自己的优化方案，即观念上确立小成本电影存在的优势；创作方面借鉴“高概念”电影模式，加强类型化建设；运营方面利用更加灵活的融资方式，并且通过合理院线布局、建立大学生艺术院线来拓宽发行渠道；此外还需关注青年导演的扶持与观众群体的培养。

关键词：中国电影产业，小成本电影，马俪文电影创作

Abstract:In recent years, several classic small-budget films came forth with high box-office, which sparked widespread concern for their development. Through a combination of domestic and international experience in small-budget films creation, this paper studied the law in producing a successful small-budget film from several aspects such as topic of film, commercial operation mechanism, training of young directors and the target client of film by taking the films directed by Ma Liwen as typical case.

　　　By a specific analysis of "cracks plight" of small-budget films, this paper pointed that the main factors of the plight mainly include three ones, which are the creation environmental factors, the movie industry factors and the audience factors. On this basis, the paper advanced its own optimization program on the future creation of small-budget film, which consists of establishing the advantage of the small-budget film from conceptual aspect; taking the "high concept" movie model and strengthening the construction of movie classification from creation aspect; applying more flexible means of financing as well as extending distribution channels though rational theaters layout construction from operational aspect. In addition, the training of young directors and the culture of audiences both need to be concerned about.  

KEY WORDS: Chinese movie industry, small-budget films, movie directed by Ma Liwen

　　　小成本电影的研究价值在于它所占的比重，作为中国电影的主体，小成本电影对于了解和改善中国电影具有极其重要的意义。中国仍然是一个发展中国家，不可能像好莱坞耗费巨资来投拍电影，在相当长的一段时间内，小成本电影仍然是中国电影发展的主要方向。所以对小成本电影的研究就成为一个可行且很有必要的行为。

　　　同时，小成本影片在锻炼电影人才、探索电影创作等多方面具有不可替代的重要作用。中国小成本电影一直都是世界各大电影节的常客，获得了广泛的国际赞誉。从早期的《妈妈》、《冬春的日子》到现在的《三峡好人》、《我们俩》等等，这些影片采取了与国产商业大片截然不同的文化策略，可以说在市场上走出了一条新路。这也是选择小成本电影这一课题的又一动因。