电光影里惊尘世：被遗忘的大师史东山

发布时间：2018-05-13 12:31

本文选题：史东山 + 美学追求　；参考：《西南大学》2014年硕士论文

【摘要】：作为中国早期电影的开创者,史东山始终以矛盾、复杂的形象出现在中国电影的历史叙述当中,一方面他绵亘于二十年代中期到五十年代初,像一个地标性的建筑见证了国家的战争与疮伤,民族的蒙昧与启迪,人性的沉沦与拯救,值得人们抽丝剥茧,条分缕析的阐释电影和历史之间的断裂与融合;另一方面,他“扁平”而非“丰满”的形象,让其在“强敌环伺”的代际划分中,始终默默无闻。从发轫时期的唯美倾向到观念嬗变后的国防电影,再到宏幅巨制的忧患史诗,以及最后歌颂人民战争的革命美学,他的作品始终带有强烈的民族感和时代性,然而囿于特定历史观念和电影观念的影响,主流价值却并未给予他应有的认可,因此,重读史东山及其电影作品成为了电影史中非常重要的一个议题。论文共分为三个章节,分别从电影作为艺术形式,电影作为社会机构以及电影作为技术体系来阐述史东山影片当中反映出来的美学追求,社会问题和技术发展。
[Abstract]:As the pioneer of early Chinese films, Shi Dongshan always appeared in the historical narration of Chinese films with contradictory and complicated images. On the one hand, he lasted from the mid-twenties to the early 1950s. Like a landmark building that witnessed the wars and sores of the country, the ignorance and enlightenment of the nation, the sinking and saving of human nature, it is worth drawing a cocoon to explain the rupture and fusion between the film and history; on the other hand, His image of "flat" rather than "plump" kept him in obscurity in the intergenerational division of enmity. From the aesthetic tendency of the initial period to the national defense film after the change of concept, to the epic of suffering in the grand scale system, and finally to the revolutionary aesthetics of the people's war, his works always have a strong sense of nationality and the character of the times. However, due to the influence of specific historical concepts and film concepts, the mainstream value does not give him the recognition he deserves. Therefore, rereading Shi Dongshan and his films has become a very important topic in the history of film. The paper is divided into three chapters, respectively from the film as an art form, film as a social organization and film as a technical system to explain the aesthetic pursuit, social problems and technological development reflected in Shi Dongshan films.
【学位授予单位】：西南大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J905

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