【作者】 王文奇；

【导师】 王晓玉；

【作者基本信息】 华东师范大学 ， 文学与传媒， 2011， 博士

【摘要】 中国是一个农村人口过半的国家,“乡村影像”关涉电影对农村与农民的表达,它涵盖了“农村题材电影”,并因表达对象的群体属性而获得了一种特定的文化身份,从而成为一种具有中国特色的电影类别,在中国电影史中占据了重要位置。本文选择以乡村影像的传播与认同作为研究对象,采用了传播学和影视学的理论和方法,对乡村影像这一文化产品的传播实践进行了分期对比研究,力图解析乡村影像在中国社会语境中的实践功能和发展问题。本文以乡村影像生产较为发达的20世纪30年代、新中国十七年及80年代初期作为主要的考察时段,同时也将新时期以来乡村影像的边缘化走势纳入研究范围。文章认为,乡村影像的繁荣期均对应于中国农村社会转型的关键时段,在不同历史时期形成了以“社会启蒙”、“政治动员”和“文化反思”为主的传播目标,但乡村影片的观众认同度却不能与其社会价值形成直接的正比关系,观众对影片的认同是建立在“思想性”和“娱乐性”的双重维度上,体现了作为“大众”艺术产品的乡村影像的接受特性。从具体的时段来看,30年代的乡村影像成为国难背景下由左翼电影人主导的面向都市中小市民的社会启蒙文本,它以通俗情节剧为载体,为其注入新鲜的现实信息,借助于影评舆论的辅助,关注农村衰败,启发民智,但受到观众喜爱的影片可谓进步而不激进,体现了都市观众的接受习惯和文化立场。新中国十七年,乡村影像为新的国家权力意志进行意识形态宣传和政治动员,这些影片勾勒了农业社会主义景观,并通过国家力量推动电影在农村的普及,但农民观众们对说教意味太浓、故事乏味的农村片表现出了疏离,这一局面在十七年中后期得到了改善,农村喜剧、戏曲片、斗争戏以及一些具有个性和情趣的“农村新人”影片共同构成了观众“喜闻乐见”的局面,从而出现了政治框架下宣传和娱乐互动的融通景观。80年代初期,“农村片”一度和农村改革的热潮形成对应,并准确地通过个体和家庭叙事视角表现农村变迁,引发时代共鸣。而随着中国现代化重心向城市转移,家庭视听媒介电视的普及,乡村影像在电影消费文化潮流中被边缘化,从商业领域退却并向精英立场转化,乡村影像成为对乡土世界进行文化反思的小众文本,在知识界和跨国传播中得到重视。国家管理者作为保障农民观众的文化权益举措的“农村题材电影”扶助政策以及农村数字电影放映工程,在实施的过程中仍面临供需不对位的尴尬局面。由于中国农村社区将长期存在,乡村影像并未失去为农民群体发出声音和进行对话的文化职能,因而,如何借助于影像的文化特性,推进乡村的身份认同,仍是一个需要关注和探索的问题。更多还原

【Abstract】 China is a country with a rural population being over 50% of the total, "Rural film image" covering current "rural films", is a special movie term with Chinese characteristics possessing a certain cultural identity because they mostly tell stories of villages and peasants, and occupy an important place in the history of Chinese movies. Taking dissemination and recognition of rural film images as a research subject, this dissertation, adopting the theory and methodology of communication and film discipline, conducts a comparative study of the dissemination of rural film images in different stages and analyses its actual role in Chinese society as well as its future development.The stages chosen for study include the 30s in the 20th century, "17 years" of New China and early 80s in the 20th century when the rural film images flourished. Also, the marginalized trend of rural film images since "the new era" is embraced into this study. This paper holds that prosperous stages of rural film images exactly correspond the key transitional periods of the rural society, with such different goals of dissemination as "social enlightenment", "political mobilization" and "cultural reflection" in different periods. But the social value of the rural film images is not in right proportion to the extent of viewers’recognition, because the approval of a film is based on both ideological and recreational dimensions, which feature the viewers’ acceptance of rural film images.Periodically, rural film images in the 30s of the 20th Century were products by left-wing filmmakers with a definite aim of social enlightenment at the time of national crisis. New realistic information was injected into popular melodrama to represent rural film images, and public opinion shaped by film critics who tried to enlighten the audience on the collapse of the countryside. But audience liked progressive films more than radical films, and the representative works of "correct consciousness" in left-wing reviews were not their favorites, which represented the habits of acceptance and cultural position of the urban audience.In the "17 years" of New China, rural films described spectacles of the agricultural socialism, with the films being spread around villages by power of the nation. The film had the function of ideological propaganda and political mobilization serving the will of the new state power. But the rural audience showed little interest in the rural films with too much preaching and insipid stories. This situation was improved in the later "17 years" with the emergence of popular rural films composed of comedy、opera、drama of struggle and some individual "new peasants" integrating propaganda smoothly with entertainment against a political background of communication.In early 80s of the 20th century, rural films once aroused great sympathy because they accurately described rural social changes by individual and family narrative in the upsurge of rural reforms. With the centre of modernization shifted from the country to the city and the spread of television in families in China, rural film images were marginalized in waves of the consumer culture, and retreated from business sector. Taking an elite stand, rural film images become the text of cultural reflection and received attention from both intellectual circles and transnational communication. In order to safeguard the cultural rights of peasant group, the administrators of state formulated the policy to support the production of "rural films" and started the project of rural digital movies presentation, but they are regrettably facing an embarrassing situation of the unbalance between the supply and the demand.Rural communities will exist for a long time in China, and rural film images still have an important role to play in representing the voice of the peasant group, therefore, how to use the cultural character of the images to promote the recognition of their rural identity is still an issue calling for our further attention..更多还原