由教化而娱乐—格里菲斯的中国评说
发布时间：2019-03-17 19:45
【摘要】：本文旨在描述民国早期格里菲斯电影的在华批评史,并系统地梳理了《赖婚》、《残花泪》、《乱世孤雏》、《重见光明》(《一个国家的诞生》)、《专制毒》(《党同伐异》)等影片的发行、放映以及接受情况。依据现有的文献材料来看,其批评取径涉及道德评判、民族主义、情节剧三个方面。就道德评判而言,评论者们从格氏电影中各取所需,援引之以支撑各自不同的、甚至是针锋相对的道德主张,用以谴责各自认定的道德困境。就民族主义而言,虽然诸种评论因立足不同而褒贬不一,但是民族主义立场却一以贯之,并未有所转移。不同于上述两种注重教化的批评取径,注重娱乐的情节剧批评逐渐占据上风,开一时之风气。这显示了早期电影批评的新的可能性:由深究教化命意而讲求娱乐效果,由道德国族而悲喜哀情,由制造紧张而释放焦虑。转向之所以可能,在于道德主义天然寓于情节剧之中。情节剧出乎正义,因而命意可以暂且避去不谈,格氏电影故而免于侧重教化的评判,注重娱乐的电影批评由此成为可能。
[Abstract]:The purpose of this article is to describe the critical history of Griffith's films in China in the early Republic of China, and to systematically sort out Lai's Marriage, the residual tears, the Lonely Young in troubled Times, and the Light again (the birth of a country). The distribution, screening and acceptance of films such as "the Party and the Expedition". According to the existing literature, its criticism involves three aspects: moral judgment, nationalism and melodrama. As far as moral judgment is concerned, commentators take what they need from Grignard's films, citing them to support their different, or even tit-for-tat, moral claims to denounce their own moral dilemmas. As far as nationalism is concerned, although all kinds of comments differ because they are based on different opinions, the nationalist positions are consistent and have not been shifted. Different from the above-mentioned two kinds of criticism, pay attention to entertainment, the criticism of melodrama gradually occupy the upper hand and open the atmosphere for a while. This shows the new possibility of early film criticism: the entertainment effect is emphasized by the education of destiny, the sorrow and sadness by moral nation, and the anxiety by creating tension. The reason why the turn is possible is that moralism naturally resides in the melodrama. Melodrama is beyond justice, so fate can be avoided for the time being. Therefore, Grignard films are not judged by the emphasis on education, which makes it possible to pay attention to entertainment film criticism.
【学位授予单位】：中山大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905
本文编号：2442637
[Abstract]:The purpose of this article is to describe the critical history of Griffith's films in China in the early Republic of China, and to systematically sort out Lai's Marriage, the residual tears, the Lonely Young in troubled Times, and the Light again (the birth of a country). The distribution, screening and acceptance of films such as "the Party and the Expedition". According to the existing literature, its criticism involves three aspects: moral judgment, nationalism and melodrama. As far as moral judgment is concerned, commentators take what they need from Grignard's films, citing them to support their different, or even tit-for-tat, moral claims to denounce their own moral dilemmas. As far as nationalism is concerned, although all kinds of comments differ because they are based on different opinions, the nationalist positions are consistent and have not been shifted. Different from the above-mentioned two kinds of criticism, pay attention to entertainment, the criticism of melodrama gradually occupy the upper hand and open the atmosphere for a while. This shows the new possibility of early film criticism: the entertainment effect is emphasized by the education of destiny, the sorrow and sadness by moral nation, and the anxiety by creating tension. The reason why the turn is possible is that moralism naturally resides in the melodrama. Melodrama is beyond justice, so fate can be avoided for the time being. Therefore, Grignard films are not judged by the emphasis on education, which makes it possible to pay attention to entertainment film criticism.
【学位授予单位】：中山大学
【学位级别】：硕士
【学位授予年份】：2013
【分类号】：J905
【参考文献】
相关期刊论文 前1条
1 米莲姆·布拉图·汉森,包卫红;堕落女性,冉升明星,新的视野:试论作为白话现代主义的上海无声电影[J];当代电影;2004年01期
，本文编号：2442637
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