【作者】 徐文明；

【导师】 金丹元；

【作者基本信息】 上海大学 ， 电影学， 2010， 博士

【摘要】 在华语电影发展历史中,华语电影工作者创作了大量的清代题材影片。这些影片讲述了发生在清代的历史、故事,也在其中传递了关于历史的想象与意义生产。本论文以华语电影中的清代历史表述、想象与意义生产为论题,以电影史研究和文化研究相结合的视角,运用较多的历史史料,并采用类型研究、文本个案研究、比较研究及观众研究、接受美学等方法,从历史与文化的视角审视了华语电影清代历史表述的多元风貌。论文总体上共分五章。第一章主要梳理了历史语境中的华语电影清代题材电影创作流变,将华语电影中清代影片创作分成求索期(1920—1949)、三地发展期(1949—1980)、融合发展期(1980—2010)三个阶段,探讨了各自阶段内的发展演变轨迹,指出清代题材电影随着时代演进而不断发展的事实。论文第二章选择了语境式个案研究的视角,以大陆“十七年”时期的代表性电影《武训传》与《宋景诗》等影片为例,详细分析了在大陆“十七年”时期,大陆电影历史表述的政治倾向与电影中清代历史表述面临的困境。强调了在这些影片的生产中,因特定的政治指向而导致影片影像清代历史表述中的“阶级斗争”意义生产的着力凸现。彰显了特定历史时期内,大陆电影清代历史表述被纳入主流意识形态生产的话语表述体系之中,并服务于当时阶级斗争主题的尴尬处境。论文第三章主要讲述了华语电影清代历史表述中如何彰显“创伤记忆”,并在其中凸现诸如爱国主义、英雄主义、气节、政治合法性等社会意义的策略与倾向。本章分析中,使用了一些比较研究的方法,并较多使用了相关史料,展现了华语电影清代历史表述如何与社会文化心理之间实现沟通,充分利用大众的社会文化心理,通过凸现灾难意象、双重他者、死亡、不屈的女性、民间小人物与英雄主义,在调动广大电影观众对清代历史的“创伤记忆”的同时,借此传递积极的社会文化意义。本章中还以1980年创作的影片《辛亥双十》为例,着重分析了台湾电影如何借助清代历史表述中的“创伤记忆”及1911年武昌起义历程的表述,将清代历史表述与中华民国的建立实现对接,并经由对清末革命起义胜利的彰显,凸现台湾所承继的中华民国的“政治合法性”的历史话语表述策略。论文第四章以较丰富的史料和文本分析,采用类型研究与个案研究相结合的方式,论述、分析了在华语电影清代历史表述中,创作者如何从正史与野史(特别是野史)中获得创作素材,并采用类型化的包装与叙事技巧,将华语电影的清代历史故事以一种不乏想象化的与商业性的通俗化运作方式,融入广大海内外华人的大众娱乐版图,使其展现出比较明显的商业性与通俗性,在对历史的想象与表述中凸现出其商业诉求。论文第五章则主要从华语电影清代历史表述和观众的关系入手,剖析了华语电影历史表述所受到的多重因素影响,从电影的接受与传播角度强调了广大华人电影观众对华语电影清代历史表述的影响。展现了华语电影经由清代历史表述参与广大华人观众民族认同观念构建所发挥的积极作用。更多还原

【Abstract】 In Chinese-language film history, the Chinese filmmakers made a lot of films about the Qing Dynasty . These films tell the story and the history of the Qing Dynasty, also pass on the meaning and the imagination of the history. By using film history studies and cultural studies combine the genre studies , text case studies, comparative studies and audience research, reception aesthetics and so on, This paper analysize about how Chinese-language films tell the history of the Qing Dynasty and how to express, imagine and produce the meaning of Qing Dynasty.The whole paper is divided into five chapters. The first chapter is about the history of the development of Chinese-language films which tell the story of Qing Dynasty. The periods of the expression of Qing Dynasty in Chinese-language film history can be dividede into three stages: the Chinese-language film into explorations of the Qing Dynasty (1920-1949), Mainland、Taiwan and Hongkong development period (1949-1980) and the convergence of the development period ( 1980-2010) . In such three stages, each stage tracks the evolvtion of Qing Dynasty Movies and points out that the Qing Dynasty Movies is in continuous development.The second chapter selects case studies of the mainland“17 years”and analysizes how the politics influence the representation of the period film“Wu Xun”and“Song Jingshi”. Highlighted in the production of these films, the specific political point lead the film’s image of Qing Dynasty to“class struggle”meaning production.The third chapter mainly describes how Chinese-language films tell the Qing Dynasty“raumatic memory”and in which how to produce the meaning such as patriotism, heroism, integrity, and political legitimacy. By using some of the comparative method and the relevant historical data, this chapter shows how the Chinese-language films describe the Qing Dynasty and communicate with social and cultural psychology. This chapter also take the Taiwan&Hongkong cooperation film "xinhai shuangshi" for example, analyzes how Taiwan’s mainstream film express the "traumatic memory" of the Qing Dynasty and the success of the Wuchang Uprising in 1911, so as to highlights the "political legitimacy" of Taiwan government inherited from the Republic of China founded in 1912.Chapter Four is a more extensive analysis of genre and text in Chinese-language films, mainly discusses how the Chinese Qing Dynasty Movies put historical data(particulary unofficial history)imagination and statements into the territory of the commercial operation to highlight their business value .Chapter five is from the relationship between narrative and the audience , analyzes the audience how to influence the interpretion of history of the Qing Dynasty in Chinese-language films and analysize the interaction between the representation and the audience in such films. It mainly describes how Chinese-language films about Qing Dynasty participate in the building of the National Identity of audience.更多还原