冷战视域下的中国“十七年”反特电影（1949-1966）

发布时间：2018-04-26 23:32

本文选题：冷战 + 十七年时期　；参考：《湖南工业大学》2017年硕士论文

【摘要】：本文对冷战视域下的中国“十七年”时期的反特电影展开研究,从反特电影的起源与生成,反特电影的叙事特性,反特电影的类型风格三个方面作出了相关论述。从起源分析,东西方阵营的对垒、时刻准备反攻大陆的蒋介石政权与五十年代中后期中苏关系的破裂这些冷战格局的局部表现直接影响了中国反特电影的创作。在反特电影的生成上,国内电影政策直接作用于反特电影的创作形态,从建国初期到五十年代直至文革前夕,每个时期电影政策的改变都显著影响了同时期反特电影的呈现形式。此外,反特电影对冷战时期东西方阵营中的国防叙事题材作品进行借鉴,在叙事表达、人物设置、视觉呈现上吸取了诸多经验为己所用,形成了自身独特的叙事特性,“全民反特防谍”的口号构建了无形的战场与隐性的战争表达,同时通过影像的方式建构了民众对于政权的认同与信心。冷战思维在反特电影中典型的表现是二元对立的叙事结构,主题是固定的我方公安侦察员英勇机智的破获了美蒋特务意图颠覆新生政权的阴谋,维护了社会的安定与人民生命财产的安全。围绕这个主体设置以冲突为核心的情节结构,随着创作经验的丰富,叙事模式进一步复杂化成熟化,设立多组二元对立的符号构建冲突,本文以反特电影《人民的巨掌》为例,对其进行了二元对立的符号解读。反特电影中的正方组织与敌方组织是具有中国化特色的一组典型对立。本文对于冷战文化的范本——反特电影的类型风格的探究,从具有政治寓意的人物设置,爱情与娱乐因素的初现,电影通过视听语言的运用营造悬疑惊悚感等三方面进行展开,力图勾勒出冷战背景下的反特电影对于中国本土类型化电影的初步探索成就。
[Abstract]:In this paper, the author studies the anti-special films in the "seventeen years" period under the Cold War, and discusses the origin and formation of the anti-special films, the narrative characteristics of the anti-special films, and the style of the anti-special films. From the origin analysis, the confrontation between the East and the West camp, the regime of Jiang Jieshi, which is always ready to counter the mainland, and the rupture of Sino-Soviet relations in the middle and late 1950s, the partial performance of the cold war pattern has directly affected the creation of Chinese anti-special films. In the formation of anti-special films, domestic film policies directly affected the creation of anti-special films, from the early days of the founding of the people's Republic of China to the 1950s until the eve of the Cultural Revolution. The change of film policy in each period has significantly affected the appearance of anti-special films in the same period. In addition, anti-special films draw lessons from the national defense narrative works in the Eastern and Western camps during the Cold War period. They have drawn many experiences for their own use in narrative expression, character setting and visual presentation, forming their own unique narrative characteristics. The slogan of "the whole people against Special Mission" constructs invisible battlefield and hidden expression of war, at the same time, it constructs the people's identity and confidence to the regime through the way of image. The typical manifestation of Cold War thinking in anti-special films is the dual narrative structure, with the theme of the fixed public security scouts bravely and tactfully unravelling the plot of the United States and Chiang Kai-shek agents to subvert the new regime. Maintain social stability and the safety of people's lives and property. With the rich experience of creation, the narrative mode becomes more complex and mature, and sets up multiple groups of binary opposition symbols to construct conflict. This paper takes the anti-special film "the Great Palm of the people" as an example. It carries on the symbol interpretation of binary opposition. The square organization and the enemy organization in the anti-special film are a typical antagonism with Chinese characteristics. This paper explores the model of Cold War culture-the genre of anti-special films, from three aspects: the establishment of characters with political implications, the initial emergence of love and entertainment factors, and the use of audiovisual language to create a sense of suspense and horror. This paper attempts to outline the initial achievements of the anti-special films in the background of the cold war.
【学位授予单位】：湖南工业大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J909.2

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