【作者】 唐佳琳；

【导师】 郦苏元；

【作者基本信息】 中国传媒大学 ， 电影学， 2009， 博士

【摘要】 本论文以30年代中国电影的发展主流“新兴电影运动”为研究对象,追问它的历史特性和共性,考察其内在分歧,对它的性质、地位和总体特征作一个描述和归纳。本文采用社会电影史的解释框架,将中国电影的发展置于中国现代化进程中加以考察,把电影的引进、中国电影的发生、发展看作是中国现代化的一个组成和一种现象。同时本文采取的是一个整体史观,注重中国电影历史的整体发展和统一性,认为中国电影发展演变的百年经历就是中国电影对自身现代性不断追问,一再改写答案的过程。作为中国现代化的一个组成,中国电影为中国人的民族认同和现代性认同提供了最生动的文化想象载体,与其它现代媒体和现代文艺一起对重构中国人心理结构起了重要的作用。作为中国现代化的一个现象,中国现代化发展与民族主义的矛盾关系不仅构成电影现代性追求的历史语境,且在电影的现代性内涵中得以体现。一方面现代民族意识是激发中国电影诞生、推动中国电影产业发展和民族电影美学追求的重要动力,30年代“民族国家”观念的确立及随后的民族危机爆发推动了电影界的时代敏感和现实关注,是激发电影改革的重要动力。另一方面,对民族、国家问题的注重也在某种程度上抑制了“新兴电影”对非功利本性和自主地位的追求以及艺术家个人主体意识的发展,对电影本体的探究主要还是站在为叙事服务的出发点上,民族电影美学的共性得到强调,而个性没有充分发展。本文的结构安排立足于对“启蒙”与“救亡”这对矛盾关系的认识。中国电影的现代性建构包括这样两个层面:一个是电影传达的意识内容经历中国传统意识与西方现代意识的整合;另一个是对电影本性的认识经历舶来品的固有属性与中国情感、审美及思维方式的整合。30年代的中国电影以“新兴电影运动”的发展为主流,以对20年代电影传统的叛逆为起点,提出了以民族主义为首要诉求的现代性方案。它表现为一种总体上倾向激进的文化态度。这使30年代电影表现出比20年代电影要强烈的批判意识。此批判意识不仅指向社会批判,而且指向对电影本性的揭示。它也表现为对现代性更切近的体验和关注,这反映在“新兴电影”的时代意识、现实视角和主体意识等方面,也反映在“新兴电影”对现代性冲突的感知上——在其内部,现代性认同的诸多方面呈现出分歧和矛盾。而追求现代发展、表达民族意识的共同态度构成了“新兴电影运动”的历史特性和共性。“新兴电影运动”是30年代中国电影现代化发展的主流。它虽然以叛逆为起点,最终还是表现出对20年代电影传统的承续,一是注重电影功能性的叙事本体论,以叙事为电影的核心,二是商业化生存的电影现实生存模式。而“新兴电影”内部对现代性认同的分歧也为中国电影在40年代出现国统区、解放区等多区域的发展乃至以后两岸三地的发展格局埋下了伏笔。更多还原

【Abstract】 Taking“New Film Movement”as its pointcut, the development mainstream of Chinese films in the 1930s, this paper tries to pursue the historical identity of this movement, to investigate its inner difference so as to give a profile on the general feature and historic position of this film movement.The framework of this paper sets up at Social History of the Movies. This paper puts the development of Chinese films into China’s modernization drive and regards the introduction of film and the creation and development of Chinese film as a phenomenon and a part of China’s modernization drive. This article takes an overall view of history, pay attention to the overall development of Chinese film history. This paper regards the development and evolution of Chinese film as a continuing process of heckling modernity.As a component of China’s modernization drive, Chinese film provides the most vivid cultural imagination carrier for Chinese people’s nationality identification and modernity identification. Chinese film, together with other modern media and arts, plays an important role in reconstructing Chinese people’s mental structure. As a phenomenon of China’s modernization, the contradiction between“Enlightenment”and“Salvation”(modernity and nationalism) directly formed the historic background that pursued by film modernity. This background was expressed in the connotation of film’s modernity. On one hand, modern national consciousness served as a vital impetus to inspire the creation of Chinese film and to impel Chinese film industry and national film aesthetics. The concept of“Nation State”established in the 1930s and the following national crisis prompted times sensitivity and realistic concern, and launched film modernization movement. On the other hand, the concern on state issues and national concept in the movement, to some extent, restrained the pursuing of non-profit and pure art nature and the development of artists’individual consciousness. Its exploration on film’s nature was mainly based on narration, where there is only the commonness of national film’s aesthetic rather than individuality.According to this paper, the modernity Construction of Chinese film includes 2 levels: one is that the consciousness the film conveyed experienced the combination of traditional Chinese Consciousness and modern western consciousness; the other one is that the acquaintance to the film in nature went through the combination of foreign thought and Chinese feeling and aesthetics. With the“New Film Movement”as its theme and rebellion against the films in the 1920s, Chinese films in the 1930s proposed a modernity scheme focus on nationalism. That scheme presented a radical culture attitude in principle, which made those films in the 1930s emit stronger critical consciousness than those ones in the 1920s. In the“Left Wing Theory”, this critical consciousness was implemented by disclosing the nature of film capitalism. It also attached closer experience and attention to modernity. We could witness it from the consistent times consciousness and realistic aspect in the“New film”movement, and from its perception of modernity conflict ---- there are many differences and contradiction in the modernity identification. However, the historical identity of“New Film Movement”resulted from the attitude of pursuing modernization development and nationalism expression.“New Film Movement”was the mainstream presentation of Chinese film modernization development in the 1930s. It also presented the continuation of 1920s tradition in 2 ways: firstly, paying attention to narration of film functionality, taking narration as the core of a film; secondly, following commercialization operation, which is the survival mode for a film. However, the difference of modernity recognition in“New Film”group laid the foundation for the multiregional development of Chinese film in the 1940s at GMT controlled area and liberated area as well as the subsequent development pattern among the Mainland, Taiwan and Hong Kong.更多还原