【作者】 钟瑾；

【导师】 蓝凡；

【作者基本信息】 上海大学 ， 电影学， 2010， 博士

【副题名】民国电影检查研究

【摘要】 电影检查决定着一部电影的命运,而一部影片能否进入市场或者删改后以怎样的面目进入市场、其盈利能力如何,则关系到电影企业的生存;影片的形态和生产者的经营活动,最终可以决定一国电影业的发展情况。可以说,1949年之前的电影发展史同时也是一部电影检查史,但是与前者相比,电影检查研究却长期被忽略了。因此,本文中选择以整个民国时期的电影检查为考察对象。既然电影检查可以对影片生杀予夺,那么从电影检查诞生的那一刻起就注定了它是一种权力。电影检查的出现,客观上是因为电影放映普及到一定程度其负面影响令人担忧,而更深层的原因是,操办电影检查的清末地方精英们借着将电影纳入其所致力于的教育改革中,来与官府分享权力。这些精英大多受过西方文明的教育或启蒙,况且同时代的美英本就是电影发达国家,因此其电影检查的理念、内容和方法几乎被照搬到最初施行的电影检查之中。有证据表明,当时的电影检查很有可能就此从他律逐渐发展成为行业自律。但是,这种可能性随着国民党政权建立并走上极端民族主义道路而灰飞烟灭。作为一个积弱的、在其长达二十余年的统治期内始终受到来自党内、国内以及外部社会的各种政权和利益集团对其合法性的挑战的政权,其甫一登场即开始着手建立现代化中国,并相应地开展文化建设。为了统一思想,国民党政权将一切权力收归国有,包括电影检查权在内,以此摈除一切非三民主义的文艺作品及文艺理论。此时,电影具有的卓越的意识形态宣传功效已被广泛认识到。于是,文艺领域由此被辟为国民党当局与其政敌继政治、军事领域之外的又一战场。电影检查成为国民党政权排除异己、扼杀异见、钳制思想的一个工具。而且,电影检查权收归国有之后,堕入了权力的漩涡之中。它不仅在国民政府内部引起争夺,而且受到国民党党内其他政治派别以及租界这样的外部势力的觊觎。而历史已经证明的国民党政权最大的敌人——中国共产党,则通过电影传播政治异见与国民党的电影检查对抗,而双方围绕电影检查展开的斗争,其实质是对于革命话语权乃至政权的争夺。民国社会是特殊的、复杂的。政治斗争和政权更迭导致了电影检查权的变迁,瓦解了国民党当局刚刚建立的电影检查体系;而租界的存在则如同顽症恶疾,阻碍着中国政府全面行使电影检查权;30年代以来爆发的大小战事,包括抗日战争和国内战争,不仅令国家主权分裂更使得电影检查权分崩离析。再加上含糊的电检条文,以及国民党行政体系内的腐败痼疾,使得民国电影检查的实施每况愈下。作为行业管理制度,电影检查确实在近代中国的社会发展过程中起到过积极正面的作用,包括为艺术的生存与发展创造了合理有序的社会环境,并约束了某些不健康倾向,扭转了艺术市场中的混乱,维持了发展。但是,在政治、文化斗争不断的情况下,电影检查沦为意识形态斗争的工具,随即堕入权力的漩涡中。电影检查权从审查主体与客体之间的一般权力关系异化成为权力的工具。纵观民国电影检查史,其间各个历史阶段的社会政治文化背景、电影发展情况虽不尽相同,但自始至终贯穿着一条权力博弈的线索。以地方精英追逐政治权力开始,以人民希望拥有民主权利为终。本文旨在以“权力”以及权力博弈为线索,揭示出谁在掌握权力、掌握之后如何使用、其结果如何,并且探寻为什么早期电影检查未能从他律走向自律。在呈现民国电影检查之风貌的同时,本文希望能对中国电影研究有所裨益。更多还原

【Abstract】 Firm censorship is the invisible hand behind the fate of a film, because it decides whether or in what configuration can a film enter the market. This will have a significant impact on the film’s potential profitability, i.e., the lifeline of a film company. And the trajectory of a nation’s film industry is dependent on the form of the cinema and the operation of film business. It is fair to say that the history of film development before 1949 is also a history of film censorship. However, compared with researches on film development, film censorship has, for a long time, been ignored. This paper is trying to bring attention back to the film censorship for the entire period of Republic of China.As film censorship is a determining factor on the future of a film, it is therefore, by nature, a kind of power. Historically, film censorship emerged as a result of the widespread film distribution and government’s response to its subsequent negative impacts. But the real reason behind the adoption of film censorship is that local elites in the late Qing Dynasty wanted to include film in their education reform initiatives so as to share power with the Feudal Government. Most of these elites were educated in the West or influenced by Western Civilization. And at that time, the US and the UK were countries with developed film industry. As a result, their theories, methodologies and practices were copied almost to the exact into the initial film censorship regime in China. There are evidences showing that film censorship was once in a position to transform from an external discipline into self-discipline of the industry. But this never happened, because the Nationalist Party (KMT) took power and practiced extreme nationalism.As a young and weak regime, KMT, in its twenty-year reign in China, was always challenged against its legitimacy by rivals and interest groups within the party, across the country and around the world. So, ever since KMT took office, it started a campaign to build a modern China, including the modern cultural industry. To ensure there is only one common understanding, KMP nationalized all kinds of power, film censorship included, to do away with any work of art or art theory that was not in line with the Three Principles of People. At that time, the extraordinary potential of cinema as a means of propaganda had been widely recognized. The art arena then grew into another battlefield in addition to the political and military ones for GMT to fight against its political rivals. And film censorship was used by KMT as a tool to eliminate dissents and control thoughts.Furthermore, after its nationalization, film censorship fell prey to all kinds of power struggles. It became target for interest groups inside the KMP government as well as for foreign concessions and other external forces. History shows that, the biggest rival of KMT– the Communist Party, had been spreading their political views through film and cinema despite of the film censorship. In the end, the wrestling of the two parties over film censorship is a contest for right of speech and even for the reins of government.The history of Republic of China was complicated and unique, with plenty of political upheavals and regime takeovers. Against this backdrop, film censorship system developed by KMT didn’t have a chance to last long. Concessions set up by invaders had their internal rules and thus hindered the implementation of film censorship. All the wars occurred since 1930s, including the anti-Japanese and civil wars, undermined the state sovereignty and also the effectiveness of film censorship. The situation continued to deteriorate with the ambiguous censorship regulations and corrupted administration in KMT.As an instrument to regulate the industry, film censorship created an orderly social environment for the existence and development of art, restricted some unhealthy tendencies, and brought order to the chaotic art market. Therefore, film censorship did play some positive role in the social development of contemporary China. However, after the film censorship system lost itself amidst power struggles within the cultural and political fields, it had been turned from an ordinary administration relationship between the enforcers of censorship and those been censored into a tool of manipulation.Looking back at the history of film censorship in the Republic of China, although there are differences in the social, political and cultural background as well as situations of film development in each historical stage, there’s always an overarching theme -- power-struggle. At the beginning, it was the local elites pursuing political powers. At the end, it was the people aspiring for democratic rights. Following“power”and“power struggle”as the main lead, this dissertation aims at examining who was in control of power, how the power was exercised and what were the consequences. It further explored reasons why film censorship failed to grow from external discipline into self-discipline. The paper is written in hopes of providing a clear picture of film censorship in Republic of China and making contributions to studies on Chinese cinema.更多还原