近代上海戏剧业与电影业的关系研究（1896-1937）
发布时间：2018-09-12 08:49
【摘要】： 自1843年开埠以来,通过同西方资本主义国家的贸易往来,上海逐渐成为商业型消费社会,文化娱乐产业随着社会经济的繁荣而逐渐发展起来,文化消费成为市民日常生活的重要组成部分。到20世纪30年代,上海的文化娱乐产业发展达到顶峰。作为文化娱乐市场的主体,具有近两千年传统优势的中国戏剧在与电影这种新兴艺术形式的并行中,受到了极大的挑战,而电影在中国的生存与发展也处处烙上传统戏剧的印记。本文就是以近代上海电影传入之后同传统戏剧业之间的关系为核心,通过二者既相互竞争,又相互借鉴的关系,探讨近代上海文化娱乐产业的发展和变迁,以期对当今日益衰落的戏剧业的发展有所借鉴。 本文共分为四个部分。第一部分为绪论,主要介绍了本文的选题缘由,回顾了国内对于戏剧史和电影史的研究现状并进行了相关的分析,简单梳理了研究思路和方法以及本文的重点、难点和创新点。 第二部分介绍近代上海的社会人文环境以及戏剧业和电影业的生存状态。上海开埠之后,商业成为社会生活的核心,消费型社会逐步形成,文化活动被纳入到市场的轨道,有力推动了近代上海文化娱乐业的繁荣。上海在数年中就发展成为新兴戏剧中心,而戏剧本身在新文化的冲击,以及与外来剧种、新兴文化娱乐方式的竞争之中,不断的进行改良,以应对新的市场需要。而电影业自1896年传入中国后,就以上海为基地发展壮大起来。从1896年到1937年的四十年间,近代上海电影业不断发展壮大,尤其是20世纪30年代,上海的电影业发展到顶峰,这一时期上海电影业是整个中国电影业的代表。 第三部分通过分析戏剧业和电影业之间既相互竞争又相互融合的关系,表现戏剧业与电影业的互动及消长,探讨近代上海文化市场形态的变迁。中国传统戏剧与电影作为两种不同的艺术门类,在近代文化市场的发展过程当中,不断向对方学习和借鉴,既产生了其二者联姻的产物、中国特有的电影形式——戏曲电影,又各自找到了新的发展方向。而传统戏剧与电影因同为文化娱乐市场的主体,其二者之间又不可避免的存在激烈的竞争,但是并没有任何一方因对方的存在而衰落,反而在竞争中共同成长起来。在戏剧业和电影业之间的互动中,近代上海文化市场的主体被确定下来,现代观演方式逐步被观众所认同,大众文化消费市场在近代传媒的引导下蓬勃发展起来,构筑起近代上海的文化消费空间。 第四部分余论,对这一时期上海文化娱乐产业发展进行评论。近代上海的传统戏剧在新兴艺术形式的冲击之下,通过自身的改良来适应市场的发展,进行着艰难的回应。而上海的文化消费在当时文化生态环境的变迁之下也出现了新的发展潮流。最后探讨了传统戏曲在与新兴的电影的并行中并没有走向衰落,而是与电影同台竞争,分庭抗礼的根本原因,为当今传统戏剧行业的发展提供参考。
[Abstract]:Since its opening in 1843, Shanghai has gradually become a commercial consumer society through trade with western capitalist countries. With the prosperity of social economy, cultural and entertainment industries have gradually developed, and cultural consumption has become an important part of the daily life of citizens. By the 1930s, the development of Shanghai's cultural and entertainment industry has reached its peak. Feng. As the main body of the cultural and entertainment market, Chinese drama with nearly two thousand years of traditional advantages has been greatly challenged in parallel with film, a new art form, and the survival and development of film in China is also branded with the imprint of traditional drama. This article is between the modern Shanghai film and the traditional drama industry after its introduction. With the relationship as the core, this paper discusses the development and changes of Shanghai's cultural and entertainment industry in modern times through the relationship between competition and reference, with a view to drawing lessons from the declining drama industry.
This paper is divided into four parts. The first part is the introduction, which mainly introduces the reasons for the topic selection, reviews the research status of drama history and film history in China and makes relevant analysis.
The second part introduces the social and cultural environment of modern Shanghai and the living conditions of theatre and film industry.After the opening of the port of Shanghai, commerce has become the core of social life, a consumer society has gradually taken shape, and cultural activities have been brought into the orbit of the market, which has greatly promoted the prosperity of modern Shanghai's cultural and entertainment industry. As the center of the new drama, the drama itself has been constantly improved to meet the needs of the new market under the impact of the new culture, as well as the competition with foreign drama and new cultural entertainment. The film industry continues to grow, especially in the 1930s, when Shanghai's film industry reached its peak. During this period, Shanghai's film industry was the representative of the entire Chinese film industry.
The third part analyzes the relationship between the theatre industry and the film industry, which is both competitive and integrated with each other, to show the interaction and growth of the theatre industry and the film industry, and to explore the changes of the cultural market in modern Shanghai. Fang learns and draws lessons from them, which not only produces the product of their marriage, but also finds a new direction of development for the Chinese unique film form-drama film. Because both traditional drama and film are the main body of the cultural and entertainment market, there is inevitable fierce competition between them, but no one can survive because of the other side. In the interaction between the theatre industry and the film industry, the main body of the modern Shanghai cultural market has been identified, the modern way of viewing and acting has gradually been recognized by the audience, and the mass cultural consumer market has flourished under the guidance of the modern media to construct the modern Shanghai cultural consumption space.
In the fourth part, the author makes a comment on the development of Shanghai's cultural and entertainment industry in this period. Under the impact of the new art form, the traditional drama in modern Shanghai adapted itself to the development of the market through its own improvement, and made a difficult response. Finally, the paper discusses the basic reasons why traditional opera has not declined in the process of concurrence with new films, but has competed with the same stage and fought courtesy in court, which provides a reference for the development of traditional drama industry.
【学位授予单位】：华中师范大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J809.2;J909.2
本文编号：2238506
[Abstract]:Since its opening in 1843, Shanghai has gradually become a commercial consumer society through trade with western capitalist countries. With the prosperity of social economy, cultural and entertainment industries have gradually developed, and cultural consumption has become an important part of the daily life of citizens. By the 1930s, the development of Shanghai's cultural and entertainment industry has reached its peak. Feng. As the main body of the cultural and entertainment market, Chinese drama with nearly two thousand years of traditional advantages has been greatly challenged in parallel with film, a new art form, and the survival and development of film in China is also branded with the imprint of traditional drama. This article is between the modern Shanghai film and the traditional drama industry after its introduction. With the relationship as the core, this paper discusses the development and changes of Shanghai's cultural and entertainment industry in modern times through the relationship between competition and reference, with a view to drawing lessons from the declining drama industry.
This paper is divided into four parts. The first part is the introduction, which mainly introduces the reasons for the topic selection, reviews the research status of drama history and film history in China and makes relevant analysis.
The second part introduces the social and cultural environment of modern Shanghai and the living conditions of theatre and film industry.After the opening of the port of Shanghai, commerce has become the core of social life, a consumer society has gradually taken shape, and cultural activities have been brought into the orbit of the market, which has greatly promoted the prosperity of modern Shanghai's cultural and entertainment industry. As the center of the new drama, the drama itself has been constantly improved to meet the needs of the new market under the impact of the new culture, as well as the competition with foreign drama and new cultural entertainment. The film industry continues to grow, especially in the 1930s, when Shanghai's film industry reached its peak. During this period, Shanghai's film industry was the representative of the entire Chinese film industry.
The third part analyzes the relationship between the theatre industry and the film industry, which is both competitive and integrated with each other, to show the interaction and growth of the theatre industry and the film industry, and to explore the changes of the cultural market in modern Shanghai. Fang learns and draws lessons from them, which not only produces the product of their marriage, but also finds a new direction of development for the Chinese unique film form-drama film. Because both traditional drama and film are the main body of the cultural and entertainment market, there is inevitable fierce competition between them, but no one can survive because of the other side. In the interaction between the theatre industry and the film industry, the main body of the modern Shanghai cultural market has been identified, the modern way of viewing and acting has gradually been recognized by the audience, and the mass cultural consumer market has flourished under the guidance of the modern media to construct the modern Shanghai cultural consumption space.
In the fourth part, the author makes a comment on the development of Shanghai's cultural and entertainment industry in this period. Under the impact of the new art form, the traditional drama in modern Shanghai adapted itself to the development of the market through its own improvement, and made a difficult response. Finally, the paper discusses the basic reasons why traditional opera has not declined in the process of concurrence with new films, but has competed with the same stage and fought courtesy in court, which provides a reference for the development of traditional drama industry.
【学位授予单位】：华中师范大学
【学位级别】：硕士
【学位授予年份】：2009
【分类号】：J809.2;J909.2
【引证文献】
相关博士学位论文 前1条
1 杨子;家园的踪迹：全球化上海的剧场与艺术空间初探[D];华东师范大学;2011年
相关硕士学位论文 前1条
1 曹晋彰;演艺产业链的构建研究[D];山东大学;2012年
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