【作者】 杨菊；

【导师】 刘锋杰；

【作者基本信息】 苏州大学 ， 文艺学， 2010， 博士

【摘要】 左翼电影是中国共产党在上海为了适应当时国内阶级斗争和民族斗争新发展的需要而发起并领导的电影运动,拍摄了一大批反帝反封建反国民党专制统治的影片,它于1932年绚丽亮相,至1937年抗日战争全面爆发后退出历史舞台。左翼电影是诸多政治、文化力量的历史合力共同作用下的结果,在历史的发展过程中形成了自己特定的内涵、形态以及鲜明的美学原则。本文围绕左翼电影的发生、发展、类型特色、核心价值观、人物形象、艺术表现以及左翼电影与其他电影文化力量的关系等方面,探讨共产党人是如何通过左翼电影建构一种新的电影美学原则,同时也取得了文化领导权。本论文共分八个部分。绪论:确定论文的研究对象、研究概况、研究视角以及研究方法和研究的价值。第一章:讨论左翼电影的兴起和原因,左翼电影的发展以及作为新的电影道路的左翼电影的主要特色。第二章:阐释在政治与艺术的纠葛中左翼电影呈现出的不同类型,并在比较中结合具体的电影作品分析其美学特色。第三章:探讨作为左翼电影核心价值观的阶级斗争意识、暴力革命思想和民族意识的历史作用及其局限性。第四章:以阿尔图塞的意识形态理论来分析左翼电影中的工农、知识分子和女性形象。生存的艰辛和民族的危机使他们积极响应左翼意识形态的询唤,并在此种意识形态的影响下转换身份,成为阶级解放和民族解放的革命主体。第五章:认为左翼电影在故事情节和人物形象创造上,表达了对处于社会底层的大众的同情,展现了他们渴望改变生存处境的政治激情,同时,也在影像话语层面进行了有益的探索,形成了一套与它的故事和人物相契合的艺术表现形式,这主要体现在左翼电影的蒙太奇思维、电影声音造型,尤其是电影音乐和音响的巧妙构思上。第六章:论析左翼电影与好莱坞电影、苏联电影、软性电影之间的文化关系与较量,在冲突、借鉴、比较中进一步建构左翼电影美学。结论:归纳与总结左翼电影的美学思考与建构,并加以反思,意在表明在当今的政治文化语境下重新阐释左翼电影美学,不仅是想借着这个历史话题,重新梳理电影与政治的关系,为电影意识形态这个电影理论的核心命题注入新的历史经验,也想释放左翼理论思想对当下社会现实的可能意义,其目的就是去建构一种更加积极的民族审美趣味与审美价值标准。更多还原

【Abstract】 Left-wing films, initiated and led by Chinese Communist Party in order to meet the needs of domestic national struggle and class conflicts at that time, were a series of anti-imperialist, anti-feudal, and anti-KMT autocracy films as a result of the film movement in Shanghai. They made their billiant debut in 1932 and quitted the stage of history in 1937 with the overall outbreak of the anti-Japanese war. Left-wing films were the result of the coaction of such historical composition of forces as politics and culture and had formed, in the process of their historical development, their specific connotations, patterns as well as the distinctive aesthetic features. This dissertation, centering around left-wing films’nascence, development, types of features, core values, character imaages, artistic language and the relationship between left-wing films and other films forces, explores how Chinese Communists built a new film aesthetic paradigm and eventually achieved political and cultural leadership or rights of ideological discourse.Except for“Introduction”and“Conclusion”, there are six chapters in this dissertation. The introduction part determines the object of study, research profile, research perspectives, research method and research value. The first chapter discusses the rise and its causes of left-wing films, their development and the main features of left-wing films as a new road to films. The second chapter elaborates on the different types of left-wing films in the dispute of politics and art and analyzes their aesthetic features in the context of comparing concrete films. Chapter three explores the historical role and historical limitations of left-wing films with the consciousness of class conflict, violent revolution mentality and national consciousness as their core values. Chapter four, with the state machinery ideology of Althusser theory as a weapon, analyzes three main characters in left-wing films, i.e., workers and peasants, intellectuals and women. Due to their low social status, these three characters were living at the foot of the social ladder. The hardships of life and national crisis impelled them to respond positively to the call of left-wing ideology and, influenced by such ideology, they transformed their status awareness and devoted themselves to the revolutionary process of class and national liberation. Chapter five holds that in creating stories and characters, left-wing films expressed their sympathy towards the general public who were at the bottom of society, demonstrated their political passion of desiring to change the living situation, and at the same time formed a set of film language which agreed with the story and its characters and which was mainly reflected in montage thinking and sound modeling of left-wing films, especially in the skillful conception film music and stereo sound. Chapter six analyzes the relationship between left-wing films and other film culture forces, which is mainly about the cultural conflicts with Hollywood movies, Soviet films and soft films. In the conflicts with these film cultural forces, left-wing films further constructed their aesthetics and expanded their influence in the audience, thus winning their cultural leadership. The conclusion is about the aesthetic construction and reflection of left-wing films. The purpose of rethinking and interpreting left-wing film aesthetics in today’s political and cultural context is not only to reevaluate the relationship between film and politics with the aim to inject new historical experiences into film ideology, a core proposition of film theories, but also to release the the possible implications of left-wing theories on contemporary social reality, while aiming at constructing a more positive national aesthetic taste and aesthetic values.更多还原