“国策”电影体系的建构与互动——伪满洲国电影法与日本电影法比较研究

发布时间：2018-05-14 00:18

本文选题：“国策” + 伪满洲国　；参考：《当代电影》2017年03期

【摘要】：“二战”期间,日本的电影统制政策贯彻于日本本土及其占领的多个殖民地。伪满洲国以傀儡政权的形式存在,在日本战时“国策”的框架下,成立了一系列电影组织和机构,实施了一系列电影政策及法令,构建了完整的电影统制体系,日本以此进行对伪满洲国的文化殖民。这既在日本对中国文化殖民的框架之内,也在其对本国及各殖民地和附属国法西斯式文化统制的框架之内。本文主要围绕同时期两地电影条例从审查到法案、从筹备到出台、从制定到条文的比较研究,从而条分缕析地梳理日本电影法与伪满洲国电影法之间的作用与反作用。
[Abstract]:During World War II, Japan's film control policy was carried out in Japan and its occupied colonies. The puppet Manchukuo existed in the form of puppet regime. Under the framework of Japan's wartime "national policy", it established a series of film organizations and institutions, implemented a series of film policies and decrees, and constructed a complete film control system. In this way, Japan colonized the culture of Manchuria. This is not only within the framework of Japanese colonization of Chinese culture, but also within the framework of fascist cultural control over Japan and its colonies and dependent countries. This paper mainly focuses on the film regulations of the two places in the same period, from the examination to the bill, from the preparation to the introduction, from the formulation to the comparative study of the articles, so as to sort out the role and reaction between the Japanese film law and the pseudo-Manchukuo film law.
【作者单位】：辽宁师范大学影视艺术学院;上海大学;
【分类号】：J905

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