从“仿写”到“转译”:以早期歌舞片《人间仙子》为例
发布时间:2018-01-17 01:32
本文关键词:从“仿写”到“转译”:以早期歌舞片《人间仙子》为例 出处:《当代电影》2017年04期 论文类型:期刊论文
【摘要】:中国早期电影的开拓者之一但杜宇是一位颇具争议的导演。20世纪20年代卷入古装神怪浪潮下的《盘丝洞》及其相关作品使得他被冠以"香艳"和"肉感"。就像我们对《盘丝洞》的低估一样,30年代但杜宇的创作转向了另一种类型的生产——歌舞片。但杜宇在大量模仿好莱坞类型片的同时,也依据当时上海的社会现实进行改写。总之,无论但杜宇所拍摄的是歌舞片还是古装片,其"香艳"和"肉体美"都是在机械复制影像中的"奇观化"的表演,也是软硬之争的关键之所在。
[Abstract]:One of the pioneers of early Chinese films but du Yu was a controversial director. In 20s, he was involved in the wave of antiquated geniuses and his related works made him known as "Xiangyan" and "flesh feeling" Just as we underestimate it. In 30s, but du Yu's creation turned to another type of production-song and dance film. But du Yu in a large number of Hollywood type films, but also according to the social reality of Shanghai at that time to rewrite. Regardless of whether du Yu made a song and dance film or an ancient costume film, his "Xiangyan" and "body Beauty" are both performances of "Wonderization" in mechanical reproduction images, and are also the key to the contention of hard and soft.
【作者单位】: 上海大学上海电影学院;
【基金】:上海市“电影学高峰学科”项目支持
【分类号】:J951
【正文快照】: 关于中国电影史上的“歌舞片”的诞生和发展的研究鲜见专文探讨。什么原因呢?一则是相关记录及其影像文本较少,二则是这种诞生在好莱坞的类型电影也未在中国形成气候,其类型特质经过中国文人的改写和转化,大多最终形成了一种所谓的“歌唱片”,尤其是中国的早期女明星们(周璇、,
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