沦陷时期的上海电影研究1941-1945

发布时间：2018-04-21 22:38

本文选题：沦陷时期 + 上海电影　；参考：《中国传媒大学》2014年硕士论文

【摘要】：在电影史研究的范畴内，沦陷时期的上海电影，是指从1941年12月8日太平洋战争爆发至1945年8月15日抗战胜利的这一时间段内，在日本侵略者和汪伪政权直接或间接的控制下，以栖身于上海的中国电影从业者为核心所进行的电影活动。电影与绘画、诗歌、音乐等其他艺术形式不同，其对制作环境有着较高的要求，同时也高度依赖于技术水平、物质条件、社会文化氛围和创作人员的艺术造诣、思想境界。因此，当上海沦陷，社会环境发生剧烈变化的时候，电影首当其冲，受到了重大的影响。而另一个角度来看，正因为电影对其社会文化环境的高度依赖和敏感，电影业也成为了一个时代社会历史发展的一个缩影。上海电影业在沦陷时期的曲折道路，，折射着上海复杂的社会环境，研究沦陷时期的上海电影，对于完善中国电影史有着极为重要的历史意义。本文分五个章节对沦陷时期的上海电影做一个基本概括和评价。第一章概述了论文写作的缘起和国内外的研究现状；第二章介绍了沦陷时期上海的政治、经济、文化等社会背景；第三章从电影史的角度梳理了沦陷时期日本殖民者逐步控制上海电影业的全过程；第四章论述了沦陷时期的上海电影如何展现了日伪政府的文化国策；第五章是对沦陷时期生活在夹缝之中的上海电影人的介绍，包括他们隐忍中的反抗以及战后的命运；第六章论述了沦陷时期上海电影的继承和发展，并且得出其历史价值和现实意义的研究结论。本文在承认沦陷时期上海电影是军事侵略和文化殖民产物的前提下，考察了这段时期电影与社会之间的关系，认为影片娱乐化的类型策略深深的渗透进了日方的政治侵略意识。此外，笔者还考察了殖民统治下上海电影人的反抗以及该时期电影对中国电影史的继承和影响。
[Abstract]:In the context of the study of film history, the period of the fall of Shanghai film refers to the period between the outbreak of the Pacific War on December 8, 1941, and the victory of the War of Resistance against Japan on August 15, 1945, under the direct or indirect control of the Japanese aggressors and the puppet regime of Wang. A film activity with the core of Chinese film practitioners living in Shanghai. Film is different from other artistic forms such as painting, poetry, music and so on. It has higher requirements for the production environment, and also highly depends on the level of technology, material conditions, social and cultural atmosphere, artistic attainments and ideological realm of creative personnel. Therefore, when Shanghai fell and the social environment changed dramatically, the film was the first to bear the brunt and was greatly affected. On the other hand, because the film is highly dependent on its social and cultural environment, the film industry has become a microcosm of the social and historical development of an era. The zigzag road of Shanghai film industry in the period of enemy-occupied reflects the complex social environment of Shanghai. The study of Shanghai film in the period of enemy-occupied period has extremely important historical significance for perfecting the history of Chinese film. This article divides into five chapters to make a basic summary and the appraisal to the Shanghai movie in the period of enemy-occupied. The first chapter summarizes the origin of the thesis writing and the current research situation at home and abroad, the second chapter introduces the political, economic, cultural and other social background of Shanghai during the period of enemy-occupied. The third chapter combs the whole process of Japanese colonists gradually controlling Shanghai film industry in the period of Japanese occupation from the angle of film history, the fourth chapter discusses how Shanghai film in the period of Japanese occupation shows the cultural state policy of Japanese puppet government. The fifth chapter is the introduction to the Shanghai filmmakers who lived in the gap during the period of the fall, including their resistance and the fate of the postwar period, the sixth chapter discusses the inheritance and development of Shanghai films during the period of the enemy-occupied period. And draw its historical value and practical significance of the research conclusions. This paper, on the premise of acknowledging that the film of Shanghai during the fall period was the product of military aggression and cultural colonization, examines the relationship between the film and the society during this period, and concludes that the type strategy of film entertainment deeply permeates the Japanese political aggression consciousness. In addition, the author also examines the resistance of Shanghai filmmakers under colonial rule and the inheritance and influence of films in that period on the history of Chinese cinema.
【学位授予单位】：中国传媒大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J909.2

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