本文選題：老上海影人 + 新中國電影��； 參考：《上海大學(xué)》2016年博士論文

【摘要】：本文史論結(jié)合,選1949-1966年這十七年時間段作為文章的研究范疇,概括描述上海電影在建國初發(fā)生的歷史性巨變與上海電影人的集體轉(zhuǎn)向,且選取典型的老上海電影人進(jìn)行詳盡的個案分析。全文的邏輯思路是:十七年上海電影的整體位置——建國后上海電影格局的變化——老上海電影人的三種分流——以此透視以上海電影為代表的中國電影傳統(tǒng)在建國后的流變直至對今天的影響。建國初期,面對全新的電影體制和權(quán)威話語的思想改造,當(dāng)時老上海電影人有三種大的應(yīng)對方式,大致可分為三種分化趨勢:第一種人是積極適應(yīng)的人。他們尋求身份認(rèn)同,尋找話語策略,進(jìn)行主體塑形、創(chuàng)作轉(zhuǎn)變和銀幕內(nèi)外的表演,并且在新中國電影事業(yè)中找到自己的位置。這類人以湯曉丹的“集體創(chuàng)作”為代表。第二種人是“不合時宜”的一代人。他們在新的文化語境中被邊緣化,面臨“原罪”帶來的身份焦慮,他們的電影被當(dāng)作“毒草”進(jìn)行改造,他們塑造出來的“工農(nóng)兵形象”實際上是個空洞的能指,他們是被鉗制了個性和被遮蔽了話語的創(chuàng)作群體。這類人以石揮的“個性創(chuàng)作”作為代表。第三種人是在中間地帶尋求突圍的人。比如在新中國歷史發(fā)展間隙期的一些多元化題材的產(chǎn)生;以及書寫現(xiàn)實題材受挫的老上海電影人轉(zhuǎn)而選擇某些特殊題材影片,比如戲曲片、民間故事片、歷史傳記片等,作為安全的題材庇護(hù)。他們也在自己的電影創(chuàng)作中隱秘地實現(xiàn)革命話語、民族話語和自我話語的融合,試圖尋得藝術(shù)與政治的平衡。這類人以鄭君里的“隱形書寫”為代表。本論文側(cè)重于通過對影像文本的解讀來表現(xiàn)建國后上海電影的“改造”與“轉(zhuǎn)型”,聚焦特殊時代語境里上海電影的精神癥候;書寫在時代變遷下,老上海電影人的轉(zhuǎn)變路徑與應(yīng)對之策;分析他們是如何在公與私的夾縫之中進(jìn)行個體書寫,亦通過對這一批傳統(tǒng)上海電影主體的分析,透視建國后中國電影傳統(tǒng)的流變。
[Abstract]:This article combines the historical theory, chooses 1949-1966 this 17 years time period as the article research category, describes the Shanghai movie in the beginning of the founding of the people's Republic of China, the historical change and the Shanghai filmmaker's collective turn. And select the typical old Shanghai filmmakers for a detailed case study. The logic of this thesis is: the overall position of Shanghai films in 17 years, the changes of the film pattern in Shanghai after the founding of the people's Republic of China, the three diversions of the old Shanghai filmmakers, and the perspective of the Chinese film tradition represented by Shanghai films. The influence of the changes after the founding of the people's Republic of China to today. In the early days of the founding of the people's Republic of China, in the face of the new film system and the ideological transformation of authoritative discourse, the old Shanghai filmmakers had three major coping styles, which could be roughly divided into three differentiation trends: the first kind of people were active adapters. They seek identity, discourse strategy, subject shaping, creative transformation and acting both on and off the screen, and find their place in the new Chinese film industry. Such people are represented by Tang Xiaodan's "collective creation". The second type of person is an "anachronistic" generation. They were marginalized in the new cultural context, faced with the identity anxiety brought about by "original sin", their films were transformed as "poisonous grass", and their image of "workers, peasants and soldiers" was actually an empty signifier. They are the creative groups who are suppressed by personality and obscured by discourse. Such people are represented by Shi Hui's Personality creation. The third type is the one who seeks to break through in the middle. For example, in the gap between the development of New China's history, the emergence of a number of diversified themes; and the old Shanghai filmmakers who wrote realistic themes were frustrated and instead chose certain special theme films, such as drama films, folk feature films, historical biographical films, and so on. Shelter as a safe subject. They also secretly realize the integration of revolutionary discourse, national discourse and self-talk in their film creation, and try to find a balance between art and politics. Such people are represented by Zheng Junli's "invisible writing". This thesis focuses on the "transformation" and "transformation" of Shanghai films after the founding of the people's Republic of China, focusing on the spiritual symptoms of Shanghai films in the context of special times, and writing under the changing times. The transformation path and countermeasures of the old Shanghai filmmakers, the analysis of how they write in the gap between public and private, and the analysis of this group of traditional Shanghai film subjects, the perspective of the evolution of Chinese film tradition after the founding of the people's Republic of China.
【學(xué)位授予單位】：上海大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2016
【分類號】：J909.2
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本文編號：1946291