表征与建构：中国早期电影的底层空间研究（1905—1937）

发布时间：2018-04-27 12:41

  本文选题：底层空间 + 底层群体　； 参考：《山西师范大学》2016年博士论文

【摘要】：对中国早期电影(1905-1937)中底层空间的建构问题进行阐述,实际上是探讨早期电影导演所关注焦点与影像,本文试图从底层空间的视角发掘中国早期电影是如何阐释作为景观的上海在现代化进程中所扮演的功能性角色及意义,进而揭示出在视听语言下的深层叙事策略与意义建构。这种研究视角难免会以牺牲电影发展史的线索与脉络为代价,而是将中国早期电影作为一个整体,以问题的形式提出,并在分析具体问题的过程中,将重组早期电影中常规的思考脉络,而将重点放在对民族、性别、权力以及意识形态等关键问题的探讨,由此重新反观中国早期电影,突显以底层空间分析问题的重要意义,并由真实空间的存在上升到想象空间建构,由视听语言的画面空间上升到人物主体的精神空间。总而言之,以早期电影作为探究的主要对象,阐述电影生产与底层空间建构之间的密切关联,尤其梳理出底层空间建构的历史过程及其所呈现的时代特征,已成为本文所论及的重要议题。而本文以空间理论来反思其与电影文本及其影像阐述互动为主来探讨底层空间的实践性特征及空间理论建构等相关问题,为进而阐述早期电影的生产与底层空间构建的内在关联奠定理论基础。第一章主要论述中国早期电影底层空间建构的整体特征和美学风格,通过透析早期电影中所凸显的“底层意识”,以此管窥城市与乡村、自我与他者的二元对立关系中的“底层消费”与“底层生活”,尤其在注重个体经验传达的同时,开拓“底层叙事”模式。第二章主要探究早期电影中底层空间常见的视觉空间元素,主要包括农村、城市及其街道、里弄、棚户区、监狱等等形态多样化的空间图景,凸显历史语境下底层群体的生活状态及其所蕴涵的思想精神,并由此挖掘其独特的文化意蕴。第三章主要考察早期电影中的底层形象建构并阐释早期电影中的空间与权力之间的关系,主要以早期电影塑造的镜像形象为对象,从底层空间去重新审视乡村农民、城市底层、移民及女性的形象在底层空间的塑造,进而以此透视底层空间与上海文化之间的密切关系。第四章主要阐述中国早期电影中底层空间景观的书写对国家民族共同体建构稳定、和谐的社会秩序的支撑作用,并以此确认其文化身份,尤其以当时具有较大影响的左翼电影为主要研究对象,辐射相关的相同主题的其他影像,分析当时特殊时期下的空间建构与文化生产,尤其阐释底层空间的意义建构与权力生产之间的关系。第五章主要探讨早期电影的城市空间重构与权力生产之间的密切关联,从而描述早期电影的现代性谱系特征,标识电影在现代性城市空间生产中的坐标位置,为更好地理解电影与现代性的关系提供参照的独特视角。通过研究,本文认为城市以空间的载体出现,具有典型的符号意义,而这些符号往往成为区分社会阶层的标杆与尺度,建构并强化这城市中阶级的区隔与划分。早期电影中经常出现不同阶层的人物游走于不同的空间,而不同的空间亦暗示人物的机遇与命运。上海周边村镇的移民在工业革命的裹挟下被迫从农村走入城市,他们走进城市,却没有融入城市的生活;他们为城市的建设做出巨大贡献,却无法拥有平等的权力来分享城市的文明结晶。在此其中,空间建构无疑起到不可替代的作用,而将底层群体与空间配置联系在一起的正是权力及权力的支配。资本主义的扩张使中国面临空前的灾难,列强对空间的争夺和占有成为中华民族共同面对的困境。从空间角度凸显民族危亡,将更有助于民众深刻认识空间的危机与主权的沦丧,空间的裂变成为当时文化生产的主题与表征的对象,国家空间的重组也成为文化空间表征的焦点。作为文化的重要代表,早期电影成为唤醒民族意识、强化民族认同、建构民族空间的重要方式和手段。与此同时,银幕下对国家空间的建构影响着早期电影的创作与生成,使早期电影的创作与民族危难之际的呼吁形成共振。作为一种媒介唤起民众共同的民族想象,电影通过空间的建构揭示出空间已然成为政治统治的工具,它唤起了人民对领土、主权争夺的强烈意识,使民族主义情怀加强,强化国家凝聚力与身份认同感。在民族主义情怀下,早期电影通过影响底层空间的建构实现民族理念的传播、民族意识的加强、民族自信的树立以及民族信念的坚定。因此,民族意识的传递、民族空间的重塑,成为早期电影重点表现的主题。
[Abstract]:This paper expounds the construction of the underlying space in the early Chinese film (1905-1937). In fact, it is the focus and image of the early film director. This article tries to explore the role and significance of the interpretation of the early Chinese film from the perspective of the bottom space to explain the functional role and significance of Shanghai as a landscape in the modernization drive. The deep narrative strategy and meaning construction under visual and audio-visual language are shown at the expense of the clues and chores at the expense of the history of the film, but the Chinese early films are put forward as a whole, in the form of a problem, and in the process of analyzing the specific problems, the conventional thinking vein in the early films will be reorganized. Focus on the discussion of the key issues of nationality, gender, power and ideology, and then review the Chinese early films to highlight the importance of the underlying space analysis, and rise from the existence of real space to the imaginary space construction, from the visual space of audio-visual language to the spiritual space of the main body. Taking the early film as the main object of inquiry, this paper expounds the close relationship between the film production and the underlying space construction, especially combing out the historical process of the underlying space construction and the characteristics of the times, which has become an important topic in this article. The first chapter mainly discusses the overall characteristics and aesthetic style of the bottom space construction of the early Chinese films, through dialysis in the early films, the first chapter is to discuss the inner relationship between the early film production and the underlying space construction. The "bottom consciousness" shows the "bottom consumption" and "bottom life" in the two yuan antagonism between the city and the country, the self and the other, and, in particular, to develop the "bottom narrative" mode, while paying attention to the transmission of the individual experience. The second chapter mainly explores the common visual space elements in the underlayer space of the early films, mainly including the visual space elements. In the countryside, the city and its streets, the lanes, the shantytowns, the prisons, and so on, the diversity of the spatial patterns, highlighting the state of life and the ideological and spiritual implications of the bottom groups in the historical context, and thus excavating their unique cultural implications. The third chapter mainly examines the underlying image in the early films and explains the space in the early films. The relationship between power is mainly based on the image image of the early film, and reexamines the rural farmers, the bottom of the city, the immigrant and the female image in the bottom space from the bottom space, and then the close relationship between the bottom space and the Shanghai culture. The fourth chapter mainly expounds the bottom space in the early Chinese films. The writing of the landscape is the supporting role of the national community to build a stable and harmonious social order, and to confirm its cultural identity, especially in the left wing films, which have great influence at the time as the main research object, and other images of the same theme of radiation, and analyze the space construction and cultural production in the special period. It explains the relationship between the meaning construction of the underlying space and the power production. The fifth chapter mainly discusses the close relationship between the urban space reconstruction and the power production of the early films, thus describing the characteristics of the modern genealogy of the early films, identifying the coordinates of the film in the modern urban space production, so as to better understand the film and the present. Through the study, this article holds that the cities appear with the carrier of space and have typical symbolic meanings, and these symbols often become the benchmarks and scales of the social stratum, and construct and strengthen the partition and division of the class in this city. In different spaces, different spaces also imply the opportunity and fate of the characters. The immigrants in the villages and towns around Shanghai were forced to enter the city from the rural areas under the industrial revolution. They went into the city, but did not integrate into the city's life; they made great contributions to the construction of the city, but they had no equal power to share the city's text. There is no doubt that space construction plays an irreplaceable role in this, and it is the power and power that links the bottom group with the space configuration. The expansion of capitalism makes China face an unprecedented disaster, and the competition and possession of space become the common predicament of the Chinese nation. The national crisis will be more helpful to the people to deeply understand the crisis of space and the decline of sovereignty. The fission of space becomes the object of the theme and characterization of cultural production at that time. The reorganization of the national space also becomes the focus of the cultural space. As an important representative of the culture, the early films become the awakening of the national consciousness, the strengthening of national identity and the construction of the people. At the same time, the construction of the national space under the screen influenced the creation and creation of the early films, and made the creation of the early films resonate with the appeal of the national crisis. As a medium to arouse the common national imagination, the construction of the film through space has revealed that space has become a politics. The tool of rule arouses the people's strong sense of sovereignty over the territory and sovereignty, strengthens the nationalist feelings, strengthens the national cohesion and identity sense. In the nationalist sentiment, the early films have realized the spread of the national concept through the construction of the underlying space, the strengthening of the consciousness of the people, the establishment of national confidence and the national belief. Therefore, the transmission of national consciousness and the reconstruction of national space have become the main themes of early films.

【学位授予单位】：山西师范大学
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J905
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本文编号：1810773