【作者】 李静；

【导师】 谭好哲；

【作者基本信息】 山东大学 ， 文学与艺术传播， 2010， 博士

【摘要】 本文的重点是对1978—2008年间中国电影进口作研究。此30年对应中国改革开放的历程,外国电影从文革后期以买断方式恢复进口到中国,到1994年中国广播电影电视总局批复中国电影总公司以分账形式进口外国电影----即十部分账“大片”强势进入中国,直至21世纪中国加入WTO,依据国际性商业原则,进口至中国的外国分账影片数量强制性翻倍。30年间,中国共以商业形式进口了1279部国外影片作为影院放映,不同阶段进口影片的数量、质量、题材、国别、级别都发生了巨大变化。这种变化直接来源于30年间中国社会体制的变化,反映到电影行业还包括各种管理政策、运作机制、进口权限等微观操作层面的改革。大批量的外国电影以不同方式进口至中国,对中国电影业及中国社会也产生了深远的影响。在梳理了30年间进口电影名单与电影内容的基础上,论文的正文部分从以下四个章节进行展开：第一章对30年间中国电影进口作历史过程的描述。即此30年中国以什么方式进口电影,进口了哪些外国电影,这些进口电影呈现出什么面目。把新时期30年中国进口的1279部电影分成三个阶段进行简短梳理：主要包括1978—1993：买断进口电影的国别转向,1994—2000：分账进口电影登陆中国,2001-2008：分账进口电影数量激增。第二章来探讨进口电影为什么会发生这样的变化,本文从30年间中国社会体制演变的大背景中考查进口电影变化的原因。文革结束后,拔乱反正的政治语境决定了中国的改革开放是政治先行,中国电影的创作观念延续着“打击敌人、教育人民”的宣教定位。在政治语境下,来自于第二世界的日本电影与法国电影在中国民众与知识分子阶层中引起了巨大反响。而美国作为世界电影强国,其进口电影在中国的影响并不甚明显。同时,进口电影作为政治外交的晴雨表,在中国与苏联、日本等国的文化外交中也发挥了特殊的政治作用。90年代市场经济的深入引发中国消费社会的形成。分账进口的外国电影,尤其是好莱坞电影,以巨大的资本优势,进入中国社会进而鲸吞中国电影市场。中国力图以最大的经济利益与最小的意识形态风险作为分账电影的引进原则,但实践表明,鱼与熊掌似乎不可兼得,在以商业利益为先导的好莱坞电影冲击下,中国本土电影业几近陷入崩溃境地。为了强化意识形态宣传,中国政府一度采用“政府输血制”支持国产电影业维持运行,但收效甚微。随着中国综合国力的增强,中国在国际上的地位发生重大变化。加入WTO使中国分账进口电影的数量强制性翻倍,进口至中国的外国电影也呈现出越来越多的中国特色与中国元素。中国电影在政府的强力保护下,分账电影进口量的增加并未使中国本土电影市场全军覆没。在文化体制改革的大背景下,中国政府整合民间、海外、港台经济与文化资源,以文化产业思路发展“大电影”观念,发起了对好莱坞的防守反击,并在本土市场上并取得了阶段性胜利。第三章,从电影管理体制的微观层面进行探讨：中国电影进口方式及进口影片的变化怎样刺激着中国电影行业管理体制,使之在困顿中发生变革。而反过来,由于中国电影业的管理政策、运作机制、进口权限等方面的变化给中国电影进口带来了改变,进而改变了进口影片的面目,对本土受众的接受心理及时代文化风尚产生了显而易见的影响。本章沿着30年中国电影体制改革的脉络,分析在三个不同阶段进口电影在中国的面目、地位、作用、以及中国政府对电影进口的种种限制、措施,可以看出,中国电影行政管理部门正是通过借用电影进口给中国电影市场所带来的巨大经济利益,使电影体制改革逐步走上正轨。第四章,从电影观念形态入手,探讨进口电影对中国电影格局的深入影响：正是这种不可见的影响令30年间中国电影业产生了巨大变化。本章共分为两节：第一节,论述进口电影对中国电影格局的影响,进口电影一步步打破了中国电影人原有的电影创作本体观念,并随之形成了以观众为中心的放映档期,引发了受众自我意识的觉醒,并挑战传统官方立场的电影审查制度,这一系列连锁反应及余震效应使新时期中国电影格局在冲突断裂中浴火重生。第二节,探讨在全球化的文化语境中,中国电影怎样重新融入世界,在融入世界的过程中走了哪些弯路,积累了哪些经验和教训,受到了哪些阻碍。作为提高国家软实力、树立国际形象的重要手段,中国电影在中国政府强力支持下,如何在好莱坞电影霸权统治的全球化文化语境中争取民族文化主权,同时为维护世界文化多样性又做出了哪些努力。最后,对全文进行总结,以寓言方式指出中国现有电影观念的局限性,同时对具有中国特色的电影业走产业与事业两翼并行发展的道路提出了建设性意见。本文的研究对象定位于电影进口而非进口电影(或进口影片),决定了这不是以文本分析的理论提升为基础的美学研究,只是将某些具有代表性的进口影片文本将作为个案引入研究视野。本文从传播政治经济学的角度,以新时期30年进口电影为研究主体,将社会宏观背景与电影体制的微观视野相结合作为研究背景,集中于电影与社会建立的各种传播关系。本文力图将传播学的微观视野与宏观构架相结合---将美国经典传播学派的实证主义调查方法、受众分析理论与北美批判学派的传播政治经济学理论相结合。传播“政治经济学不是不关注文本,它认为文本应当得到较多关注,但必须把它放在彻底的政治经济学分析中来考察。”①与美国经典传播学相比,在西方马克思主义理论框架下发展起来的批判传播研究不但一直注重权力问题,而且将它置于广阔的政治经济和社会文化发展历程中来审视。在传播政治经济学研究中,研究对象是以传播媒介为核心的人类传播行为及其活动,以生产、分配、流通、交换及其宏观决策活动的政治经济学的思路来观察特定社会和历史条件下的权力结构和传播资源分配模式。这一传统一开始就将传播研究理所当然地视为一种跨学科的综合性学术行为,呼吁传播理论与社会理论的结合。在写作过程中,将30年进口影片的定量分析应用于电影制度史学研究,同时结合社会性别分析、萨伊德的东方学、葛兰西的文化领导权等文化研究理论与产业经济学的相关理论,力图为30年中国社会体制变迁与进口电影传播的关系问题提供一种合法性阐释。“传播政治经济学的长处在于它向来强调结构形式的重要性,它一直致力于描述并分析影响传播商品的生产、分配与交换的结构形式,并主要考察国家如何规范这些结构。虽然政治经济学并未忽视商品本身和商品化的过程,但它仍然倾向于强调企业与国家的制度和结构。”目前国内还没有专著对新时期进口电影作专门性研究,同时囿于我国文化安全限制,亦没有国外学者对此项内容展开研究。本人在搜集了众多第一手的电影进口资料的基础上,以中国社会体制演变及电影行业体制改革的角度对电影进口进行研究,具有一定的创新性及综合性。更多还原

【Abstract】 This article focused on 1978-2008 years Chinese films imported for research.This corresponds to 30 years of China’s reform and opening-up process, Foreign films from the late Cultural Revolution to buy out a resumption of imports to China, 1994 China Radio Film and Television of China Film Corporation, approved to split the form of import of foreign films that 10 part of the account—"large" strong into China,Until the 21st century to join WTO, according to the principles of international commercial imports to China’s foreign split videos mandatory double.30 years, China has to import a 1279 commercial for cinema showing foreign films, films in different stages of the import quantity, quality, theme, country, great changes have taken place in class. This change directly from the system 30 years, the changes in Chinese society, reflected in the film industry including various management policies, operational mechanisms, such as micro-operational level of imports authority reform. Large quantities of foreign films imported to China in different ways, the Chinese film industry and Chinese community also had a profound impact.30 years of combing the list of imported films and film content, based on the body of the paper to start from the following four sections:Chapter 30 for years, imports of Chinese film history, description of the process. That is the way in 30 years China has imported the film, which imported foreign films, the film shows what these imports face.To 30 years of New China’s imports of 1279 short film is divided into three stages carding:Include 1978-1993:buy country imported films turn,1994-2000:split film log imports to China,2001-2008:Dividing the number of import surge in the film.Chapter to discuss the import of the film why such changes occur, the paper 30 years from the evolution of China’s social system, examine the background of imported films change.After the Cultural Revolution, out of chaos and political context of China’s reform and opening up the decision is a political first, the concept of China’s film continues the "fight against the enemy, to educate the people," the missionary orientation. In the political context, from the Second World Films and French Film Japanese people and the intelligentsia in China has caused great repercussions. The United States, as the film powers, its imports of film in China effect is not very obvious. Meanwhile, import movies as a barometer of political diplomacy, in China and the Soviet Union, Japan, the cultural diplomacy also played a special political role.90 in-depth market economy caused the formation of China’s consumer society. Split the import of foreign films, especially Hollywood movies, with huge capital advantage into Chinese society and then swallowing the Chinese film market. China seeks to maximize the economic benefits and minimal risk as the ideological split the introduction of the principle of the film, but the practice shows that seem to not have both fish and bear’s paw, with business interests in Hollywood as the forerunner of the impact of China’s domestic film industry for several into a state of near collapse.In order to strengthen the ideological propaganda, the Chinese government once adopted, "the government blood transfusion system" to support the maintenance of domestic film industry is running, but with little success.As China’s overall national strength, China’s international status changed significantly. China joined the WTO to split the mandatory double the number of imported films, foreign films imported to China has emerged more and more Chinese haracteristics and Chinese elements. Chinese film under the protection of the government’s strong, autonomous increase in film imports to China’s domestic film market has not completely annihilated. In the context of cultural reform, the Chinese Government to consolidate the civil society, foreign, Hong Kong and Taiwan economic and cultural resources to the development of cultural industry thinking "great movie" concept, launched a counterattack against Hollywood’s defense, and in the local market and has achieved stage victory.ChapterⅢ, from the film management system to explore the micro level:China Film Import and import the movie means to stimulate changes in how the management system of China’s film industry, so that changes occur in the Predicament. In turn, as the Chinese film industry’s management policies, operational mechanisms, such as changes in import competence to bring about a change in imports of Chinese film, and then changed the face of imported films, on the local audience to accept the Pychological and cultural habits of the times had obvious effect.This chapter along the 30-year reform of the context of Chinese films, in three different stages of imported films in China face, status, role, and the Chinese government restrictions on film imports, measures, you can see, the Chinese film administration It is through the film is imported to the Chinese film market, the tremendous economic benefits to the film system was gradually on the right track.ChapterⅣ, the concept of form from the film start to explore the pattern of imports of Chinese Film-depth impact:It is this invisible effects of the Chinese film industry 30 years have drastically changed.This chapter is divided into two sections:SectionⅠdiscusses the import of Chinese Film pattern of imports of Chinese film step by step to break the original film idea film-making body, and subsequently formed the center of the audience for the show schedule, led the audience self-consciousness and challenging the traditional position of the film the official review system, this series of chain reactions and the aftershock effect to the New Chinese Cinema in the pattern of fracture in the ashes of conflict.SectionⅡ, to explore the cultural context of globalization, how to re-integrate into the Chinese film world, and in the process of integration into the world to go and what detours, which have accumulated experience and lessons, which hindered by. As the enhancement of national soft power, an important means of establishing international image, China Film strong support the Chinese government, how Hollywood hegemony in the cultural context of globalization for cultural sovereignty, while maintaining cultural diversity has made What efforts.Finally, a summary of the text, allegorical way that the concept of China’s current limitations of the film, while the film industry with Chinese characteristics, follow the parallel development of industry and business wings of the road made constructive comments.This research focuses on positioning the film in film imports rather than imports (or import video), decided to text analysis is not promoted based on the theory of aesthetics, but the import of certain representative film version will introduce a case study vision. From the perspective of political economy of communication, in order to import films for 30 years New research subject, the background of the social macro perspective and micro-film system combines a research background, focusing on a variety of film and community to establish communication relationships. This paper tries to micro-perspective of communication combined with the macro framework of the United States—positivist school of classical communication survey methods, audience analysis theory and North American school of political economy of critical theory. Spread "is not concerned about the political economy is not text, it is that the text should be given more attention, but must put it in a thorough analysis of political economy to examine."Communication with the United States compared to the classical, theoretical framework of Marxism in the West up to develop critical communication research has not only been Zhuchongquanli Wen Ti, and Qiangta’s Zheng Zhi put vast economic and social cultural development Zhong to look at. In the political economy of communication, the study is based on the mass media as the core of human behavior and communication activities to the production, distribution, circulation, exchange and political economy of macroeconomic policy-making activities, the idea to observe a particular social and historical conditions spread under the power structure and resource allocation. This tradition spread the outset of a matter of course as a comprehensive interdisciplinary academic behavior, communication theory and social theory called for the combination. In the process, will be 30 years of quantitative import video system used in movie history research, combined with gender analysis, Said’s Orientalism, Gramsci’s cultural leadership theory and cultural studies and other related industrial economics theories, trying to change 30 years of China’s social system and the relationship between the spread of imported films with a legitimate explanation. "Political economy of communication strengths is that it has always stressed the importance of structure, it has been dedicated to describe and analyze the impact of dissemination of commodity production, distribution and exchange structure, and mainly on the state to regulate these structures. Although the political economy not neglect the product itself and the commercialization process, but it still tends to emphasize enterprise and the state system and structure. "Currently no monograph for the new era of specialized imported film studies, while limited by China’s cultural security restrictions, no foreign scholars on a study of this element. I collected numerous first-hand information on film imports, based on the evolution of Chinese social system and the movie industry point of view of reform to study film imports, with some innovative and comprehensive.更多还原