疏离·交叉·相融

【作者】 贺昱；

【导师】 周斌；

【作者基本信息】 复旦大学 ， 中国现当代文学， 2006， 博士

【副题名】中国现代作家与早期电影

【摘要】 “中国现代作家与早期电影”是作家研究、电影研究，也是一种传媒研究、文化研究和历史研究。本文的撰写将涉及中国现当代文学、电影学、文化学、历史学及社会学等学科领域，采取综合的、实证的研究策略，运用史料整理、归纳、比较等方法，以时间上的电影发展历程为纵轴，以不同时期作家的电影活动为研究主体，对现代作家与早期电影发展的关系进行深入细致的梳理、分析和论述，指出：现代作家始终以积极主动的姿态，在早期电影理论、电影品格、电影剧本创作、电影导演、电影批评等诸多方面对电影的文化品位进行了有力提升；在电影的艺术手法方面，带入了对文学理论和文学创作手法及文学成果的吸收、借鉴，现代作家的使命感和传统文人的济世精神也在由纸质书写向影像书写的转换中得到了很好的实现，中国早期电影重社会功能、强于叙事以及以现实主义为创作原则的特征的形成，与现代作家的参与不无关系。本文共五章。第一章“绪论：作家‘触电’及其它”，就作家与电影的关系的历史、本课题的研究现状做了介绍，对论文中涉及的相关概念进行界定，并阐明研究的思路、方法、创新点和总论点。第二章：“疏离：现代作家与创始期中国电影”。通过对电影发展初期概貌的勾勒，将“通俗文学作家进入电影”放在社会文化和电影发展的总体架构中，考察以鸳鸯蝴蝶派文人为主的通俗文学作家与早期电影的关联，认为在新文学作家与电影疏离的总体态势下，通俗文学作家在长片拍摄、电影类型开拓、重视电影娱乐功能和商业特性等方面所做的努力，其介入使创始期电影在内容上呈现出鲜明的“影戏观”和民族化特征。第三章：“交叉：作家关注与影响下的三十年代电影”。以左翼作家的电影活动为主，对重要作家的电影活动和影响较大的“软性电影”与“硬性电影”论争进行深入分析，指出左翼文艺运动对作家进入电影领域所起的作用。作为世界电影史上的一种特殊现象，现代作家在三十年代大规模地进入电影，在电影功能界定、电影反映主题方面对电影的发展有所匡正，强化了早期电影现实主义的主流创作倾向。第四章：“相融：作家在四十年代电影发展中的作用”。说明作家在小说、戏剧的电影改编方面所做的努力，由知识分子忧患意识而产生的“家”、“国”诉说，使创作中体现出人文电影的突出特征，“影戏”传统得到进一步加强。第五章是结语，分析现代作家在早期电影三个阶段中态度发生变化的根源，指出：作家与电影的关系之所以在不同阶段呈现出“疏离”、“交叉”、“相融”这样一种关系特征，是因为作家在传统“士”文化心理的影响下产生的使命意识与忧患情怀，使作家的电影观念、对电影功能的认识在不断地发生变化；同时，电影从“杂耍”到“艺术”的发展演变中所体现出的艺术魅力，电影在社会生活中所体现的越来越重要的作用，都强烈地吸引着作家的视线。研究现代作家与早期电影的关系，可以为当代作家参与电影创作、为未来中国电影的发展提供一些有益的启示。更多还原

【Abstract】 "The Chinese modern writer and the early movie" is the study on writer, the study on movie, the research on media, the culture and the history. This article will involves many fields, such as Chinese modern literature, filmology , cultural science, histology and sociology, it will adopt the synthesis, the real diagnosis research strategy, will reorganize, method and so on induction, comparison using the historical data, will develop the course take the time in movie as the ordinate axis, take the different time writer’ s movie activity as the research main body, will develop the relations to the modern writer and the early movie to carry on thorough careful combs, the analysis and the elaboration, This article points out: The modern writer always by the positive initiative posture, enhanced the cultural personal status of Chinese in the early movie theory, the movie moral character, the screenplay creation, the movie directed, the movie criticism and so on. At the movie artistic technique aspect, has led to the literature theory and the literature creation technique and the literature achievement absorption, the modern writer’s sense of mission and the traditional writer provided relief the spirit also in to obtain the very good realization by paper writing to in the phantom writing transformation, the Chinese early movie heavy social function, has been strong in narrates as well as take the realism as the creation principle characteristic formation, is related with the modern writer’ s participation.This article composes five chapters. First chapter "introduction: The writer ’receives an electric shock ’ and other ". the writer and the movie relations history, this topic research present situation has made the introduction, involves the related concept to the paper in to carry on the limits, and expounds the research mentality, the method, the innovation andthe total argument. Second chapter: "deviation: The modern writer with initiates the time China movie". Through to movie development initial period general picture outlining, "the popular literature writer will enter the movie" to place in the overall overhead construction which the social culture and the movie will develop, will inspect sends the writer primarily popular literature writer and the early movie connection by the mandarin duck butterfly, thought sparsely will leave in the new-vernacular literature writer and the movie under the overall situation, the popular literature writer in the long piece photography, the movie type development, will take the endeavor which movie aspect and so on entertainment function and commercial characteristic will do, its involvement will make to initiate the time movie to present bright "the cinema view" in the content and nationality the characteristic. Third chapter: "Overlapping: Under writer attention and influence 30’s movie". By left-wing writer’ s movie activity primarily, big "the soft movie" and "the rigid movie" the debate carries on the thorough analysis to the important writer’s movie activity and the influence, pointed out the left-wing literary and artistic movement enters the role to the writer which the movie domain plays. As the world movie history in one kind of special phenomenon, the modern writer enters the movie massively in the 30’ s, in the movie function limits, the movie reflected the subject aspect had to the movie development rectifies, strengthened the early movie realism mainstream creation tendency. Fourth chapter is the "fusion: The writer develops the function at the 40’ s movies". Explained the writer in the novel, the play movie reorganizes the endeavor which the aspect does, but produces "the family" by the intellectual sense of hardship, "the country" related, causes in the creation to manifest the humanities movie the prominent characteristic, "the cinema" the tradition obtains further strengthens. Fifth chapter is the conclusion, analyzing theroot of the manner change of modern writer in three stages of early movie, it points out: the relation between writer and the movie takes on "deviation’’, "overlapping", and "fusion", because the consciousness and the awareness of unexpected development under the cultural psychology in the different stage influence the writer’ s idea on movie, and the movie function understanding; At the same time, the movie charming , from "vaudeville" to "art" the development and the movie the more and more vital role which manifests in the social life, all intensely attracts the writers sight. The research on the relation between modern writer and the early movie, might drive the contemporary writer to part in movie, and provide some beneficial enlightenment for the future China movie development.更多还原