殖民语境与“满映”娱民片的评价问题

发布时间：2018-10-14 13:32

【摘要】：伪满时期日伪政府建立的满映,是地道的帝国主义文化侵略工具,以拍摄宣传殖民主义国策的故事片和所谓"启民"的文化与新闻纪录电影为主。不过,由于受到国外电影和上海电影"高水准"的压力以及国策电影的不受欢迎,出于市场票房和以更"温柔"的电影麻醉沦陷区人民的考量,满映不得不拍摄大量的通俗娱乐电影,即娱民片,满映中后期娱民片数量远超国策片。过去受到对沦陷区日常生活与文化认识的抵抗/屈服二元模式的影响,对这些殖民主义电影机构拍摄的娱民电影,没有认真研究,评价失之于表面化和概念化。回到历史语境,认真辨析满映娱民片在殖民主义政治与美学中,如何既服从又规避殖民话语、既受殖民主义钳制又巧妙地颠覆殖民主义的机制与逻辑,从而实事求是地揭示娱民电影的真实形态和面目,是本文的主旨所在。
[Abstract]:During the period of the puppet Manchu period, the Japanese and puppet governments set up the Manchu film, which was an authentic tool of imperialist cultural aggression, mainly in the shooting of feature films that propagandized the policy of colonialism and the cultural and news records of the so-called "enlightening the people". However, because of the pressure from foreign and Shanghai films "high standards" and the unpopularity of the state policy films, due to the market box office and the consideration of the people in the enemy-occupied areas under the influence of more "gentle" films, Full film had to make a large number of popular entertainment films, that is, entertainment films, the number of entertainment films far exceeded the number of national policy films. In the past, influenced by the dualistic pattern of resistance / submission to the understanding of daily life and culture in the enemy-occupied areas, the entertainment films made by these colonial film institutions were not studied seriously, and the evaluation was not superficial and conceptualized. Returning to the Historical context, this paper seriously analyzes the mechanism and logic of how to obey and evade the colonial discourse in the colonial politics and aesthetics, which is controlled by colonialism and subverted by colonialism skillfully. It is the gist of this article to reveal the true form and features of entertainment movies.
【作者单位】：中国传媒大学文法学部;
【分类号】：J909.2

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