改造与重塑—建国后留沪老上海电影人研究（1949-1966）

发布时间：2018-05-28 10:05

  本文选题：老上海影人 + 新中国电影　； 参考：《上海大学》2016年博士论文

【摘要】：本文史论结合,选1949-1966年这十七年时间段作为文章的研究范畴,概括描述上海电影在建国初发生的历史性巨变与上海电影人的集体转向,且选取典型的老上海电影人进行详尽的个案分析。全文的逻辑思路是:十七年上海电影的整体位置——建国后上海电影格局的变化——老上海电影人的三种分流——以此透视以上海电影为代表的中国电影传统在建国后的流变直至对今天的影响。建国初期,面对全新的电影体制和权威话语的思想改造,当时老上海电影人有三种大的应对方式,大致可分为三种分化趋势:第一种人是积极适应的人。他们寻求身份认同,寻找话语策略,进行主体塑形、创作转变和银幕内外的表演,并且在新中国电影事业中找到自己的位置。这类人以汤晓丹的“集体创作”为代表。第二种人是“不合时宜”的一代人。他们在新的文化语境中被边缘化,面临“原罪”带来的身份焦虑,他们的电影被当作“毒草”进行改造,他们塑造出来的“工农兵形象”实际上是个空洞的能指,他们是被钳制了个性和被遮蔽了话语的创作群体。这类人以石挥的“个性创作”作为代表。第三种人是在中间地带寻求突围的人。比如在新中国历史发展间隙期的一些多元化题材的产生;以及书写现实题材受挫的老上海电影人转而选择某些特殊题材影片,比如戏曲片、民间故事片、历史传记片等,作为安全的题材庇护。他们也在自己的电影创作中隐秘地实现革命话语、民族话语和自我话语的融合,试图寻得艺术与政治的平衡。这类人以郑君里的“隐形书写”为代表。本论文侧重于通过对影像文本的解读来表现建国后上海电影的“改造”与“转型”,聚焦特殊时代语境里上海电影的精神症候;书写在时代变迁下,老上海电影人的转变路径与应对之策;分析他们是如何在公与私的夹缝之中进行个体书写,亦通过对这一批传统上海电影主体的分析,透视建国后中国电影传统的流变。
[Abstract]:This article combines the historical theory, chooses 1949-1966 this 17 years time period as the article research category, describes the Shanghai movie in the beginning of the founding of the people's Republic of China, the historical change and the Shanghai filmmaker's collective turn. And select the typical old Shanghai filmmakers for a detailed case study. The logic of this thesis is: the overall position of Shanghai films in 17 years, the changes of the film pattern in Shanghai after the founding of the people's Republic of China, the three diversions of the old Shanghai filmmakers, and the perspective of the Chinese film tradition represented by Shanghai films. The influence of the changes after the founding of the people's Republic of China to today. In the early days of the founding of the people's Republic of China, in the face of the new film system and the ideological transformation of authoritative discourse, the old Shanghai filmmakers had three major coping styles, which could be roughly divided into three differentiation trends: the first kind of people were active adapters. They seek identity, discourse strategy, subject shaping, creative transformation and acting both on and off the screen, and find their place in the new Chinese film industry. Such people are represented by Tang Xiaodan's "collective creation". The second type of person is an "anachronistic" generation. They were marginalized in the new cultural context, faced with the identity anxiety brought about by "original sin", their films were transformed as "poisonous grass", and their image of "workers, peasants and soldiers" was actually an empty signifier. They are the creative groups who are suppressed by personality and obscured by discourse. Such people are represented by Shi Hui's Personality creation. The third type is the one who seeks to break through in the middle. For example, in the gap between the development of New China's history, the emergence of a number of diversified themes; and the old Shanghai filmmakers who wrote realistic themes were frustrated and instead chose certain special theme films, such as drama films, folk feature films, historical biographical films, and so on. Shelter as a safe subject. They also secretly realize the integration of revolutionary discourse, national discourse and self-talk in their film creation, and try to find a balance between art and politics. Such people are represented by Zheng Junli's "invisible writing". This thesis focuses on the "transformation" and "transformation" of Shanghai films after the founding of the people's Republic of China, focusing on the spiritual symptoms of Shanghai films in the context of special times, and writing under the changing times. The transformation path and countermeasures of the old Shanghai filmmakers, the analysis of how they write in the gap between public and private, and the analysis of this group of traditional Shanghai film subjects, the perspective of the evolution of Chinese film tradition after the founding of the people's Republic of China.
【学位授予单位】：上海大学
【学位级别】：博士
【学位授予年份】：2016
【分类号】：J909.2
，

本文编号：1946291