中国早期电影观众史（1896-1949）

发布时间：2018-05-17 05:36

本文选题：电影 + 观众　；参考：《中国艺术研究院》2013年博士论文

【摘要】：一直以来,观众被简单的认定为一部或另一部电影观者、一类或者另一类电影类型的爱好者、亦或是某一明星的粉丝。在中国电影界,从最初的流行杂志、报刊、书籍等纸质媒介,到如今的电视、广播、互联网等电子媒介,民众、学者以及公众话语对观众的争论无处不在。但无论是1949年前将电影视作新奇玩意的热闹型观众、将电影视作认知世界工具的学习型观众,又或是将普通观众视作庸俗之辈的智识观众,亦或是在建国后成为政治宣传对象的观众、改革开放后作为电影商品消费者的观众,电影观众早现在公众舆论、研究者著作内的历史形象基本没有改变。他们一直是被动的且缺乏自律的社会群体,需要被引导、被教育。与之相对,他们作为自然人所应有的文化兴趣、理解力和信息需求却被湮没了。本文的写作,并非是为了重新论证观众作为自然人所应具备的主观能动性,那在人文学科有关受众接受领域的研究中已有详细的论述。但是,观众作为自然人的属性是本文论述的主要基础,所以文中笔者十分关注观众观影习惯的演变轨迹。从最初与京戏、杂耍、曲艺等传统娱乐项目紧密联系在一起的随意交流、走动不受约束的观影习惯,到现代影院出现后那种“柏拉图洞穴”再演般自觉受到约束的观影习惯,观众对电影的认识随着观影习惯的变化发生了翻天覆地的变化。在研究时,笔者发现,现今作为争论的那些议题在历史上早已被翻来覆去地论述过,有时名目相同,有时花样繁多。笔者以为,这种轮回式事件发生的主要原因是：公众话语建构观众、观众表达欲望的行为模式不仅会依据不同时期的社会事件而相异,更会因为观众作为个体成长中受到像家庭、社会、民族、国家、文化等因素的影响而相似。本文的目的旨在提供一个中国电影观众的成长史,尤其是通过比较年代较早的公众舆论中有关电影观众的争鸣历史,通过梳理不同历史时期的公众话语表达,描述中国观众如何去认识电影的过程。
[Abstract]:Viewers have long been identified simply as viewers of one or another film, fans of one or another type of film, or fans of a certain star. In the Chinese film industry, from the original popular magazines, newspapers, books and other paper media, to today's television, radio, the Internet and other electronic media, the public, scholars and public discourse on the public debate is everywhere. But whether it was a lively audience that saw movies as novelty before 1949, a learning audience that viewed film as a tool for understanding the world, or an intellectual audience who regarded ordinary audiences as vulgar, Or the audience who became the object of political propaganda after the founding of the people's Republic of China, the audience as the consumer of film commodity after the reform and opening up, the public opinion of the film audience as early as now, the historical image in the researcher's works basically has not changed. They have been passive and undisciplined social groups that need to be guided and educated. By contrast, their cultural interests, understanding and information needs as natural persons have been obliterated. The writing of this paper is not to reprove the subjective initiative of the audience as a natural person, which has been discussed in detail in the field of audience acceptance in the humanities. However, the nature of the audience as a natural person is the main basis of this paper, so the author pays close attention to the evolution of audience viewing habits. From the casual exchanges closely associated with traditional entertainment items such as Beijing Opera, vaudeville, qu Yi, and so on, and the unrestrained movie-watching habits, to the "Plato Cave" movie viewing habits that were consciously restrained after the emergence of modern cinemas, The audience's understanding of the film has changed dramatically with the change of viewing habits. In the course of research, the author finds that the issues that have been debated today have been discussed over and over again in history, sometimes in the same name, sometimes in a variety of ways. The author thinks that the main reason for this kind of recurrent events is that the public discourse constructs the audience, and the behavior patterns of the audience expressing desire will not only be different according to the social events of different periods. They are also influenced by factors such as family, society, nationality, country, culture and so on. The purpose of this paper is to provide a history of the growth of Chinese film audience, especially by comparing the history of public opinion about film audience in earlier years, and by combing the public discourse of different historical periods. Describe how Chinese audiences get to know movies.
【学位授予单位】：中国艺术研究院
【学位级别】：博士
【学位授予年份】：2013
【分类号】：J909.2

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