【作者】 殷伟；

【导师】 王福才；

【作者基本信息】 山西师范大学 ， 戏剧戏曲学， 2012， 硕士

【摘要】 本文以互动为切入点，力图对1896年到1949年间戏曲与电影的关系进行研究。自中国电影诞生之日起，戏曲与电影之间就展现了交叉与融合的复杂关系。戏曲推动了电影最初的成长，而电影也在繁盛之时提携了戏曲在多媒介共生的市场环境下的复兴。整个过程中包含了电影导演的艺术尝试、表演艺术家的自觉探索和影片制作公司的商业抉择，而正是由这三个方面的博弈才成就戏曲电影的艺术特色和繁荣勃兴。在绪论部分主要是依照戏曲电影内在的发展脉络及外在政治、经济、文化的影响对戏曲电影的研究现状进行了梳理。第一章把戏曲与电影的互动放置在当时的政治、文化、经济背景之下，运用心理学、电影学、经济学等学科的理论成果来分析戏曲电影诞生的文化、政治、经济背景。鸦片战争之后伴随着西方资本主义国家文化侵略的过程，马戏、赛狗、电影、戏剧等西方娱乐形式传入中国，对戏曲电影带来了诸如娱乐观念、接受方式等方面的前期培育。第二章鉴于西方电影首先传入上海，而中国电影却诞生于北京的事实，分析了北京的政治、经济、文化中心城的地位和影响力，对于京剧融合徽戏、汉剧、秦腔而成为国剧的历程进行了简要介绍。这一章重点分析了戏曲改良运动对戏曲与电影关系的影响。第三章分别选取丰泰照相馆、商务印书馆活动影戏部、民华电影公司、新华电影公司、吴性栽投资的电影公司，来分析他们拍摄戏曲电影的原因和动机，以及拍摄过程中对于戏曲和电影融合的探索和思考。第四章选取戏曲艺术家梅兰芳的戏曲电影创作历程，分别从新剧的影响和艺术家的文化自觉两方面来论述他的电影创作活动。更多还原

【Abstract】 This paper is trying to study the relationship between traditional opera andfilm from 1896 to 1949, based on the interaction as the starting point. Since theday of film of drama birth, opera and film have shown the complex relationshipon the crossover and fusion. Opera promoted the initial growth of film. But themovie that in the prosperous also helped opera renaissance when in multiplemedia symbiotic market environment. The whole process included filmdirectors’art attempt, performing artists consciously explore and filmproductions’business choice. And it is from these three aspects of the gamblingthat makes traditional opera film art and prosperity.In the introduction part, the paper summarizes the status of the study thatmainly is in accordance with the traditional opera film internal development andexternal political, economic, and cultural influences on traditional opera film.In the first chapter, the interaction between the opera and the movie isplaced in the political, cultural, economic background, using the theoreticalresults of psychology, filmology, science, economy and other disciplines toanalyze the cultural, political, and economic background of the birth of operafilms, and analyzed with the process of cultural invasion of the Westerncapitalist countries. It have brought to the opera film came to China after theOpium War that circuses, dog racing, movies, theater and other forms ofentertainment, such as concepts and accept ways of their influence. The opera selected film making from the clutter of early film company purposes of painopera film production activities and some directors and actors conscious.The second chapter, in view of the Western film first passed in Shanghai,but the fact that movie was born in Beijing, analyzed the status and influence ofBeijing’s political, economic and cultural center city. Made a brief introductionon how opera integrated Anhui Opera, Han Opera, Qin Opera to become thenational opera. This chapter focuses on opera campaign for improved analysis ofthe relationship between opera and film.The third chapter respectively selected Feng Tai Studio, Commercial PressMinistry of activities movie, Min Hua’s film company, Xinhua film company,Wu Xingzai’s investment company, to analyze the reasons and motivations offilm production, as well as during filming for the opera and film to explore theintegration and reflection.The fourth chapter has selected Opera artist Mei Lanfang’s film of dramacreation, to elaborate his film creation separately from the new influence andartist’s consciousness of culture two aspects.更多还原