政治．影像．诗意——1949—1966年的中国电影

【作者】 石川；

【导师】 李少白；

【作者基本信息】 中国艺术研究院 ， 中国电影史， 2001， 博士

【摘要】 1949-1966年的中国电影发展历史，是中国电影史上的一个十分特殊的历史时期。对这一时期中国大陆范围内的电影创作与相关的历史现象，人们习惯地称之为“十七年”中国电影。 本文的目的，就在于对“十七年”时期中国电影艺术的历史发展状况进行宏观的描述和系统的分析，力求在一更宽阔的时代背景上来认识“十七年”电影的有关问题。因此，本文从艺术、管理、政治文化等几个不同角度着手对历史材料进行组织和融汇，希望能比较清晰地勾勒出“十七年”电影发展变化的大致轮廓。并在此基础上对“十七年”各个不同历史阶段的有关作品展开分析研究，辩明一些特殊电影形态的衍生、成型、流变的历史足迹，并对它们的美学价值、历史价值做出力求客观、公正的认识和评价。 本文准备分成四个部分展开论述： 第一部分，对1949年社会政治转型为电影生产与创作，以及艺术观念、生产管理方式、体制结构等等电影各个环节带来的变化进行概括性的描述，为后面的分析研究确立一个相关的知识基础。在这一部分，我们将“十七年”电影的发展历程，粗略地划分为四个历史阶段，即“建国初期”、“‘一五’时期”、“五十年代末”和“六十年代初期”。 第二部分与第三部分，将沿着时间的线索，对“十七年”电影的历史过程进行叙述和考察。着重分析各个时期的政治运动、创作观念、管理体制等因素对电影创作与生产的影响。找出不同因素之间的内在关联，说明一种电影趋势之所以如此的大致原因。 第四部分，主要在前面的分析基础上，对电影艺术方面的材料进行更高一层的综合，并以此为前提归纳、提炼出“十七年”电影的一些基本艺术特征。 本文认为，“十七年”电影创作基本是在一种预设的意识形态和艺术规范框架中进行的。作为创作主体的艺术家，对电影的艺术手法、技巧、美学风格的选择和借鉴是在特定的政治意识形态规范下进行的，因而在艺术探索过程中常常会受到各种政治和社会观念因素的干扰。与此同时，艺术家从事电影创作探索，很大程度上是在实践层面上单向展开的，电影理论（尤其是电影本体论部分）方面的成果比较薄弱，至少还不足以支持这一时期的创作实践攀上更高的艺术颠峰。这些特点决定了“十七年”电影艺术既有一定的美学开创性，又有极大的时代局限性。它在某些特定的艺术语言层面上出现了“精致化”的迹象，但同时，从事艺术创造的空间维度又十分狭窄。总之，“十七年”电影艺术创作实际取得的美学成就，还远远没有达到它所可能达到的高度。 作为一部学位论文，本文的全部观点，都是建立在详实的史料基础上的，但由于时间和其它主客观方面的原因，作者对史料的消化、融汇，以及在史料基础上所进行的抽象、思辩都还存在许多不充分、不完善的地方，对此，除了作者本人今后将保持不泄的努力而外，还有赖于本领域的专家、研究者给予批评和指正。更多还原

【Abstract】 1949-1966 is an important historical period for Chinese films. What is related to film making activities in this period is customarily called Chinese films of 17 years. This paper is an attempt to analyze the historical developments related to Chinese film making during this period for the purpose of appreciating the films of 17 years against a wider historical background. The historical materials are organized in such a way----namely, that from the perspectives of arts, management, politics and culture so that the gradual progress of Chinese film making of that period is clearly presented. On this basis, the films of that period is analyzed in a hope to differentiate some special films including their historical origins, progress and variations, hence assessing objectively their aesthetic and historical values. This paper is divided into 4 parts. Part 1. A description of a political turning point that resulted in changes in arts concept, production and systems related to film making activities, so that a knowledge basis is established for firther research. This author is to divide 17 years into 4 different periods; that is, the earlier period after the People Republic of China was founded the 1st 5 year-plan period the end of the SOs and the beginning of the 60s. Part 2 and 3. This author is to review the progress of the 17 years film making, with the emphasis placed on the political movements, creation concepts and management systems of each period that affected film making, in an endeavor to find Out the internal relevance of the above mentioned factors, thus explaining the film making trends during that period. Part 4. A summary of the above analysis, which appoints to the basic characteristics of the 17-year films. This author believes that 17-year films were basically produced against an ideological and artistic criterion that had been determined. Social and political reasons more often than not limited filmmakers in their creations because their artistic methods, techniques and aesthetic styles were products of a certain age when politics and ideology prevailed. Meantime, films were created while film theory (that on films as films in particular) were scarce, at least the latter being not enough to support the film creation of that period to attain a higher artistic level. These basic characteristics determine that the films of that period were limited by the age while a new aesthetic value were also started. Signs of fine language in some cases were evident, yet the art itself of film production could only be used to a limited extent. In a word, what the 17-year films achieved in terms of aesthetic value is far away from what they could have.更多还原