华语电影概念的起源、发展和讨论——鲁晓鹏教授访谈录
发布时间：2018-09-04 14:23
【摘要】："华语电影"概念不是出自20世纪90年代中国的港台学界,而是更早出自20世纪50年代的新加坡、马来西亚华文书刊。它是当时华人创造的概念,用以寻求一种自主的华人电影论述方式。早在20世纪五六十年代,新加坡和马来西亚的本土电影导演和媒体报刊已普遍使用华语电影一词,当时新加坡已有华裔导演易水亲自拍摄使用普通话和华人方言的华语电影,易水也前后在当地报刊撰写有关华语电影的文章,引起了不少反响和讨论,之后他把这些文章和讨论结集出版成书。华语电影在当时的使用语境已类似当代华语电影的用法,即是一个复数的概念,既包含中国大陆和港台以及其他华人区域的中文电影,亦涵盖各地华人方言电影。当时新加坡、马来西亚华语电影提倡的"多种华语"是21世纪鲁晓鹏和叶月瑜提出的华语电影的先声。这不但为我们当代华语电影概念的生成深化提供了一个历史化的维度,也在厘清华语电影概念既不是美国中心主义,也不是中国中心主义的争论中具有重大意义。
[Abstract]:The concept of "Chinese film" came not from the Hong Kong and Taiwan academic circles in China in the 1990s, but from the Chinese books and periodicals in Singapore and Malaysia in the 1950s. It is a concept created by Chinese people at that time, in order to seek an independent Chinese film argumentation. As early as the 1950s and 1960s, the term "Chinese film" was widely used by local film directors and media newspapers in Singapore and Malaysia. At that time, Chinese director Yi Shui in Singapore made films in Mandarin and Chinese dialects in person. Yi Shui also wrote articles about Chinese movies in local newspapers, which aroused a lot of reaction and discussion. Later, he published these articles and discussion collections into books. The context in which Chinese films were used at that time was similar to the usage of contemporary Chinese films, that is, a plural concept that included Chinese films from mainland China, Hong Kong, Taiwan and other Chinese regions, as well as local Chinese dialect films. At that time, Singaporean and Malaysian Chinese films advocated "multiple Chinese languages", which were the forerunner of Chinese films proposed by Lu Xiaopeng and Ye Yueyu in the 21st century. This not only provides a historical dimension for the formation and deepening of the concept of contemporary Chinese film, but also has great significance in clarifying that the concept of Chinese film is neither American centralism nor Chinese centralism.
【作者单位】： 加州大学戴维斯分校比较文学系;南洋理工大学中文系;
【分类号】：J905
[Abstract]:The concept of "Chinese film" came not from the Hong Kong and Taiwan academic circles in China in the 1990s, but from the Chinese books and periodicals in Singapore and Malaysia in the 1950s. It is a concept created by Chinese people at that time, in order to seek an independent Chinese film argumentation. As early as the 1950s and 1960s, the term "Chinese film" was widely used by local film directors and media newspapers in Singapore and Malaysia. At that time, Chinese director Yi Shui in Singapore made films in Mandarin and Chinese dialects in person. Yi Shui also wrote articles about Chinese movies in local newspapers, which aroused a lot of reaction and discussion. Later, he published these articles and discussion collections into books. The context in which Chinese films were used at that time was similar to the usage of contemporary Chinese films, that is, a plural concept that included Chinese films from mainland China, Hong Kong, Taiwan and other Chinese regions, as well as local Chinese dialect films. At that time, Singaporean and Malaysian Chinese films advocated "multiple Chinese languages", which were the forerunner of Chinese films proposed by Lu Xiaopeng and Ye Yueyu in the 21st century. This not only provides a historical dimension for the formation and deepening of the concept of contemporary Chinese film, but also has great significance in clarifying that the concept of Chinese film is neither American centralism nor Chinese centralism.
【作者单位】： 加州大学戴维斯分校比较文学系;南洋理工大学中文系;
【分类号】：J905
【参考文献】
相关期刊论文 前2条
1 吕新雨;鲁晓鹏;李道新;石川;孙绍谊;柏佑铭;唐维敏;王汝杰;唐宏峰;李力;卢W，
本文编号：2222418
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