【作者】 孙晓天；

【导师】 丁亚平；

【作者基本信息】 中国艺术研究院 ， 电影学， 2014， 博士

【摘要】 早期中国电影的发展历程(1949年以前)是一段从无到有,从幼稚走向成熟的过程,期间汇聚了无数电影人的汗水与智慧,是普通民众、智识阶层与官方意志共同耕耘的结果。在急剧变化的政治、经济环境之中,在动荡的社会语境之中,早期中国电影不断克服着自身的种种不足,与外界的干预和困扰,用艺术的血液来适应着时代的变迁与民众的需求,谱写了一段尝试、斗争、探索的历史。鉴于早期中国电影史在整个中国电影发展历程中重要而特殊的地位,它一直是当代电影史学者十分关注的研究对象之一,尤其是在“重写电影史”呼声日渐高涨的当下,早期中国电影史研究更是成为了争论与研究的焦点。在这种境况之下,早期电影史学史研究的价值与意义自然也就被突显出来。如果说历史研究是人类反观自身客观历史存在的过程,那么史学史研究即是建构在人类历史反思之上的双重反思,而电影史学史则是电影史学者对于电影历史的双重反思。所谓的电影史学与电影史学史并不是一项单纯记录电影历史与电影史学发展过程的机械劳动,它们是建构在电影学与历史学基础上的交叉学科。鉴于电影艺术的综合性与大众性,其历史研究必然是建构在经济史、政治史、社会史、文化史、思想史、学术史与各门类艺术史基础之上的。因而,早期电影史学史研究的任务并不仅仅是记录1949年之前的电影史研究者的研究过程与成果,而是在发掘、整理史料的基础上探寻早期中国电影史学史的发展规律,以及其中所包含的史学意识的变迁与演进,并有志于通过这些研究来探索中国电影史学史研究的独特方法。本文共分七章,在研究的过程中,力图为早期中国电影史学建构一个纵横交错的历史框架,使其置身于完整的时间链条与交织的时代、社会网络之中。绪论部分讨论了选题依据、学科定位、研究价值与方法、研究成果等；第一章从历史到史料再到史学的进化角度论述了促成中国电影史学诞生的各要素；第二章论述了在20世纪20年代中期逐渐形成的电影文化与印刷文化的刺激下迸发出的电影史学研究的自觉意识,以及其在娱乐精神与商业意识引导下的探索成果;第三章主要论述了1927-1933年之间,电影史汇编集的特征与价值,以及其与沪外电影史编撰、外国电影史编撰共同组成的早期中国电影史学史发展历程中的多元尝试；第四章的论述重点在于国民党南京政府成立之后实施的一系列电影文化建设策略对于电影史研究的影响,以及在这些举措之下从“汇编”走向“撰述”的电影史研究成果。第五章论述了抗战时期的电影史研究因政治格局的变化而被不同的意识形态左右,进而呈现出了功利性、学术性等特征的分化。第六章论述了解放战争时期,中国电影史学在艰难的环境之下“异地”重生,在香港的学术性电影刊物中重新走上学术之路的过程与成就。第七章从历史文献、民族电影史学与电影史写作三个角度出发,探索了早期中国电影史学史的历史地位与现实意义。更多还原

【Abstract】 Early Chinese films developed from nothing and gradually became mature, which was the embodiment of numerous filmmakers’sweat and wisdom and also the fruit created by common people, intelligentsia and authority together. In an era when politics and economy was changing rapidly and the society was in turbulence, early Chinese films constantly overcame their shortcomings and intervention from the external world, adapted themselves to the changing times and met the needs of the public by virtue of art, thus created a history of attempt, fight and exploration. Given that the history of early Chinese films played an important and special role in the progress of Chinese films, it has always been the concern of contemporary film historians, especially when the appeal for "rewriting film history" is becoming more and more desperate. At present, the study on the history of early Chinese films has become the focus of disputation and research. In this context, the value and significance of studying the historiography of early Chinese films became prominent.If historical research is regarded as a process for human beings to review their objective and historical existence, then historiography research is a double reflection based on humans’historic reflection, and the historiography of films is film historian’s reflection on the history of films. Film history and film historiography is more than simple mechanical labor that records the development process of film history and film historiography. Instead, it is an interdisciplinary based on filmology and history. In view of the integrity and popularity of film art, its historical research is inevitably built on the history of economy, politics, society, culture, ideology and other kinds of art. As a result, the task of film historiography is to explore the law of the development of early Chinese films as well as the changes and progress of historical consciousness that were represented in the law by excavating and collecting historical materials, in an attempt to find out the unique methods applied in Chinese film historiography.This paper consists of seven chapters. The purpose of the research was to build a criss-cross historical structure for the studies of early Chinese films, so as to put these studies in a complete time period and an interlaced social network. In the introduction, the basis, orientation and significance of the research, and the research methods and research achievements were discussed. In Chapter One, the elements that promoted the birth of Chinese film historiography were expounded from the perspective of evolution from history to historical materials and to historiography. It was discussed in Chapter Two the self-awareness of film historiography that was raised due to the stimulation of film culture and print culture, which gradually evolved in the mid of1920s, and its results of exploration under the guidance of entertainment and commercial awareness. It was elaborated in Chapter Three the features and the value of the compilations of the history of films which were born in the context of "historiography" between1927and1933, and the multiple attempts that were made in the history of early Chinese film historiography by the compilations of the history of films, the compilations of the history of films beyond Shanghai and the compilations of the history of foreign films. Chapter Four focuses on the influence on the research into the history of films exerted by a series of construction strategies about film culture that were implemented after Nanjing government of Nationalist Party was established, as well as the research achievement from "compiling" to "composing" the history of films under the influence of these strategies. It was discussed in Chapter Five that the research on the history of films during the Anti-Japanese War was controlled by different ideologies with the changes of political patterns and hence showed different features, such as utilitarian and technicality. Chapter Six put the emphasis on the recovery and reform of Chinese film historiography during the period of Liberation War, the way in which it became academic again and its achievements. It was explored in Chapter Seven the role that the history of early Chinese film historiography played in history and its practical significance from three perspectives, that is, historical documents, film culture and the historiography of national films.更多还原