《电影艺术》（1956-1966）的中国美术电影观念研究

发布时间：2018-03-19 11:15

本文选题：《电影艺术》　切入点：中国美术电影　出处：《广西大学》2017年硕士论文　论文类型：学位论文

【摘要】：《电影艺术》是新中国首家电影专业性理论刊物,也是报刊领域研究新中国电影的重要窗口。在1956-1966年的《电影艺术》中,美术电影作为一个单独个体,被持续书写与关注,展现了相对多元的中国美术电影观念。它突破了目前学界对于“十七年”时期美术电影“民族化、艺术化、中国学派”的总结,亦有效修正了历史话语与时下研究的抵牾。这是美术电影研究与报刊研究中应被好好发掘的一个坐标。但遗憾的是,国内对其的关注意识较为薄弱。据此,本文将以《电影艺术》1956-1966年刊载的中国美术电影相关文章为对象,通过文本细读,并结合政治语境、同时期重要报刊上刊载的美术电影相关文章,以内外结合的视角,系统梳理《电影艺术》中呈现的中国美术电影观念,并对其缺失和偏颇之处进行学术反思,以期共同推进《电影艺术》的研究及中国美术电影研究。第一章从历时与共时两个角度,厘清《电影艺术》(1956-1966)中美术电影观念的变迁和成因。第一,中国美术电影观念的历时变迁分为“前《电影艺术》阶段”、“诉求阶段”、“调和阶段”、“妥协阶段”,四者鲜明体现出美术电影为追求自身“独立性”与政治的斡旋。第二,以国内和国际政治语境组成的期刊“外部”环境,与作者和编辑组成的期刊“内部”环境,共同决定了《电影艺术》中美术电影观念的呈现。第二章梳理与探讨《电影艺术》(1956-1966)中美术电影的创作观。“假定性”、“现实性”与“民族性”创作观形成相互映衬的格局,可作为从宏观层面理解、把握《电影艺术》中具体文本的关键词。一方面,“假定性”作为核心的艺术本体,是抽象的艺术观念,它必然与“现实性”创作观引发冲突。另一方面,“假定性”与新中国具体条件、环境结合而生成的“民族性”创作观在“十七年”中具有突出成果,同时亦存在多重瑕疵与纰漏。第三章探讨《电影艺术》(1956-1966)中美术电影批评观的“失衡”原因。政治意识形态造就的话语权威,引导和规约着批评者,使美术电影批评文本显示出“紧跟政治”、“重视宣教”的形态。但同时,美术电影批评亦从审美维度找到了追求自身丰富性的突破口。第四章梳理《电影艺术》(1956-1966)中的美术电影史观。在“革命美术电影史观”的笼罩下,《电影艺术》的文本“缝隙”中仍隐藏着对美术电影历史的多元认识,从外国、世界、民族传统、艺术等角度展现了美术电影的发展与自立。其中,靳夕的《中国美术电影的发展》一文,可视为其中的最高成果。第五章以前三章的分析为基础,反思《电影艺术》(1956-1966)中国美术电影观念。在美术电影创作与文章撰写中,存在着对“美”的独立性、实验性创作、“儿童性”理解的众多偏颇,而《电影艺术》作为体制内刊物,从话语空间上亦给多元与深入的思考带来限制。但同时,美术电影亦在“革命性思维”的运用与对“人”的普世关怀等方面给人以启示。
[Abstract]:Film Art is the first theoretical publication of film specialty in New China and an important window for the study of New China films in the field of newspapers and periodicals. In the Film Arts of 1956-1966, art films, as a single individual, have been continuously written and paid close attention to. It breaks through the current academic summary of "nationalization, artistry, and Chinese school" of art films during the period of "17 years". It also effectively corrects the contradiction between historical discourse and current research. This is a coordinate that should be well explored in the study of fine arts films and newspapers, but unfortunately, the awareness of its concern in China is relatively weak. This article will take the Chinese fine arts film related articles published in 1956-1966 as the object, through the text careful reading, unifies the political context, at the same time important newspaper carries the fine arts movie correlation article, in the internal and external union angle of view, Systematically combing the concept of Chinese art film presented in film art, and carrying on academic reflection on its deficiency and bias. In order to jointly promote the study of "Film Art" and the study of Chinese fine arts film. The first chapter clarifies the changes and causes of the concept of art film from two angles of diachronic and synchronic. The diachronic changes of the concept of Chinese art film can be divided into "the stage of film art before", "stage of appeal", "stage of reconciliation", "stage of compromise", and the four vividly reflect the mediation of art film to pursue its own "independence" and politics. The "external" environment of periodicals, which is composed of domestic and international political context, and the "internal" environment of periodicals composed of authors and editors, The second chapter combs and discusses the creative view of art film in "Film Art" (1956-1966). "hypothetical", "reality" and "nationality" create a pattern that sets off each other. On the one hand, "hypothetical" as the core of the art of art, is an abstract artistic concept, On the other hand, the concept of "nationality", which is formed by the combination of "hypothetical" and concrete conditions and environment in New China, has outstanding achievements in "seventeen years". At the same time, there are many flaws and flaws. Chapter three discusses the reasons of "imbalance" in the view of fine arts criticism in Film Art (1956-1966). The discourse authority created by political ideology guides and governs critics. The text of art film criticism shows the form of "following politics" and "attaching importance to preaching". But at the same time, Art film criticism also found a breakthrough from the aesthetic dimension to pursue its own richness. 4th chapters combing the history of fine arts in "film art" (1956-1966). Under the "revolutionary art film historical view", "film art" literature. This "Gap" still hides the multi-understanding of the history of fine arts films, From the perspectives of foreign countries, the world, national traditions and art, it shows the development and independence of fine arts films. Among them, Jin Xi's "the Development of Chinese Fine Arts Films" can be regarded as the highest achievement among them. The analysis of the previous three chapters in Chapter 5th is the basis. Rethinking "Film Art" (1956-1966) the concept of Chinese fine arts film. In the creation and writing of fine arts films, there are many biases about "beauty", experimental creation and understanding of "children's sex", while "film art" is a publication within the system. But at the same time, the application of "revolutionary thinking" and the universal concern for "man" are also enlightening.
【学位授予单位】：广西大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J905

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