1927至1937年上海电影文化生态研究

发布时间：2018-04-04 18:33

本文选题：上海电影　切入点：文化生态　出处：《山东师范大学》2013年博士论文

【摘要】：民国电影，特别是1927至1937年的上海电影，是中国电影史上十分精彩的一页，它承前启后，开创了一个崭新的阶段，被誉为“黄金的十年”。本文以1927至1937年的中国上海电影文化生态为论文选题，研究的重点在于描述、考察和揭示1927至1937年上海电影文化生存、发展、变化的各种社会的、政治的、经济的、文化等环境要素及其相互关系，探讨电影文化在这些环境要素中如何被制约、被影响、被塑造，以及在反抗、挣扎、适应和改造环境过程中，呈现出来的具有自己独特的运行机制、活动轨迹及其发展策略，力图对“上海电影文化生态”做出一个比较全面、深入、真实的历史观照。导论部分对相关概念、选题缘由及研究方法进行了简要论述。第一章着重论析了社会语境及其对上海电影文化生态的影响。30年代的上海电影，首先是在30年代上海这个独特的物质空间与社会空间中发展起来的。这个社会语境主要由三个部分构成，一是上海作为中国近代被迫向西方打开的大门，它没有成为中国新的政治中心，也没有成为中西双方争夺的军事要地，而是成为中西商贸活动重要的集散地，形成了其极具现代性、开放性与世界性的城市空间；其二，上海作为与中国传统城市不同的、以江浙粤人群为主体组成的现代移民城市，形成了既有江浙粤特色，又有移民精神的社会空间；其三，上海作为西方租界与华界共存，受制、受限并受惠于西方最多的地区，构成了当时中国中西文化交流最为活跃的文化空间。这三者构成了当时中国电影文化活动的社会文化语境，并对当时上海电影文化生态产生了很大的影响。第二章着重论述了政治势力及其对上海电影文化生态的制约。30年代的上海电影，也是在上海各种政治势力的制约、影响与参与中发展起来的，当时的上海，是中国主要政治力量交锋的重要战场，也是上海电影无可躲避、必须面对的政治文化环境。当时上海的政治势力主要有三部分构成，一是国民党执政的国民政府，一是活动在上海的共产党及其外围组织，三是活跃在上海的大大小小的帮会势力。这三种政治势力都非常重视电影的巨大影响力与实际效益，并直接介入了上海电影文化的生成与发展活动。但是这三种政治力量对电影介入的方式又各不相同，国民政府主要进行政策管控，共产党及其外围组织主要做的是思想介入，，作为特殊政治力量而存在的帮会则主要是从经济上插手。这三种政治势力相互作用，直接影响到了上海电影文化生态的走向。第三章主要论述上海电影的市场处境及上海电影人的商业策略。30年代的上海电影，不仅受到当时社会活动空间的影响，受到不同政治势力的影响，更受到市场的影响，特别是好莱坞电影对中国电影构成了巨大的市场压力。然而这一时期中国电影又是电影发展最迅速的时期，企业规模增强，电影形态成熟，出品数量增加，不论在政治上还是艺术上都使中国电影的主体性得以进一步确立，并出现了一大批优秀的民族电影代表作。这一文化生态的形成，与上海电影在市场机制上的成功探索有关。在处于不利的市场竞争中，上海电影实现商业突围，表现了上海电影文化的生存智慧。第四章主要论述了上海消费群体的观影取向及上海电影的文化选择。30年代上海电影文化生态的生存发展，与上海电影观众有着密切的关系。因为电影与观众是相互依存的，没有电影当然没有观众；离开了观众，电影也就失去了存在的意义。作为商业化的大众艺术，从某种意义上说，消费者是决定其价值的第一要素，也是影响电影文化生态的重要因素。因此，观众在进行电影消费活动中的审美取向就变得很重要。事实上，上海电影文化在发展过程中，是非常重视观众的观影取向的，因为只有掌握了观众最基本的审美取向及其心理需求与期待，才能最大限度地引起观众的消费欲望与观看兴趣。正是在这种情况下，才形成了当时上海独有的电影制作体制与电影批评模式。第五章主要论述上海电影对上海社会文化生态的影响。30年代上海电影文化的成熟，是这个城市、这个社会、这个时代给予的，没有这种特殊的生态环境，也就不会有上海电影丰富、多样的文化生态。但是反过来，上海电影文化的多样性、丰富性，对上海社会文化生态也产生了积极有益的作用，特别是对上海人的自我认同的形成、上海消费文化的流行，以及上海市民民族主义意识的觉醒等方面，上海的电影文化都是功不可没的。结语部分对上海电影文化生态显现出来的意义、经验进行了简单的总结说明。
[Abstract]:In the movie, especially from 1927 to 1937 Shanghai film, is China film in the history of a brilliant page, which ushered in a new stage, known as the "golden ten years". In 1927 to 1937 in Shanghai Chinese film culture ecology as the thesis topic, the focus of the study is to describe 1927 to 1937, examine and explore the Shanghai film culture survival, development, social change, political, economic, cultural and other environmental factors and their relationship, to explore how the film culture is restricted in these environmental factors affected, be shaped, as well as in the fight, struggle, adaptation and transformation of the environment in the process of show, has its own unique operating mechanism, trajectory and its development strategy, trying to "Shanghai film cultural ecology" to make a more comprehensive, in-depth, real history.
The introduction gives a brief account of the related concepts, the reasons for the topic and the research methods.
The first chapter focuses on the analysis of the social context and its influence on Shanghai film culture ecological.30 in the Shanghai film, it was first developed in Shanghai in 30s this unique material space and social space. The social context mainly consists of three parts, one is Shanghai as a modern western China was forced to open the door. It has become the new political center China, did not become a Western military battle between the two sides, but the foreign trade activities become an important distribution center, the formation of its very modern, open and cosmopolitan city space; second, Shanghai is different and Chinese traditional city, Guangdong people for modern immigrants to Jiangsu and Zhejiang the main component of the city, the formation of both Guangdong and Jiangsu and Zhejiang have characteristics, the immigrant spirit of social space; third, as western Shanghai concession and Chinese subject coexist, and benefit from the west, LIMITED The most common area constituted the most active cultural space of Chinese and Western cultural exchanges at that time. These three constituted the social and cultural context of Chinese film culture at that time, and had a great impact on the Shanghai film culture ecology.
The second chapter focuses on the political forces and the restriction of the Shanghai film.30 in the cultural ecology of the Shanghai film, but also restricted the various political forces in Shanghai, the development influence and participation in the Shanghai at that time, is an important battlefield China main political forces of confrontation, the Shanghai film is inevitable, must face the political culture at the time of the Shanghai environment. Political power is composed of three parts, one is the ruling Kuomintang national government, is a communist activity in Shanghai and its peripheral tissue, three is active in Shanghai's large and small Gang forces. The tremendous influence of the three political forces have attached great importance to the film and the actual benefit, and directly involved in the formation and development of Shanghai film culture. But the three political forces on the movie intervention is also different. The main national government policy control, Co The production party and its peripheral organizations mainly do ideological intervention. The gang that exists as a special political force mainly intervenes in economy. The interaction of these three political forces directly affects the trend of Shanghai's movie culture ecology.
The third chapter mainly discusses.30's business strategy of Shanghai film market situation and the Shanghai film of the Shanghai film, not only affected the social space, affected by the different political forces, more affected by the market, especially Hollywood movies constitute a huge market pressure on the film China. However, during this period China the movie is the movie the most rapid period of development, enterprise scale enhancement, film morphology of mature, production quantity increase, whether in politics or art have the subjectivity China film can be further established, and the emergence of a large number of outstanding national film masterpiece. The formation of ecological culture, and Shanghai film in the market the mechanism of successful exploration. In a disadvantageous competition in the market, Shanghai film business breakthrough, showing the survival wisdom of Shanghai movie culture.
The fourth chapter mainly discusses the viewing orientation and Shanghai movie culture choice of survival and development of Shanghai movie culture ecology.30 Shanghai's consumer groups, has a close relationship with the Shanghai film audience. Because of the film and the audience are interdependent, not of course no film left the audience; the audience, the film will lose its meaning. As a commercial art for the masses, in a sense, the consumer is the first factor to determine its value, is also an important factor affecting the film culture ecology. Therefore, the audience aesthetic orientation in the film in consumption activity is very important. In fact, the Shanghai film culture in the process of development, is very important the audience's viewing orientation, because only grasp the aesthetic orientation and psychological needs of the audience and look forward to the most basic, in order to maximize the audience's desire for consumption and watch Interest. It was in this case that the unique film making and film criticism pattern of Shanghai was formed at that time.
The fifth chapter mainly discusses the mature.30 in Shanghai film culture Shanghai film influence on Shanghai social and cultural ecology, is the city, this society, this time to give, not this unique environment, will not have the Shanghai film rich and varied cultural ecology. But in turn, diversity, Shanghai film culture rich, also produced a positive effect to Shanghai social and cultural ecology, especially the formation of Shanghai people's self-identity, popular consumer culture in Shanghai, and the people of Shanghai nationalism consciousness and other aspects, Shanghai film culture is undeniable.
The conclusion is a brief summary of the significance of the cultural ecology of Shanghai film.

【学位授予单位】：山东师范大学
【学位级别】：博士
【学位授予年份】：2013
【分类号】：J909

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