本文選題：電影批評　切入點(diǎn)：“革命現(xiàn)實(shí)主義”　出處：《上海大學(xué)》2013年博士論文　論文類型：學(xué)位論文

【摘要】：無論是建國初批評界討論的“革命現(xiàn)實(shí)主義”還是隨后從蘇聯(lián)引進(jìn)的社會主義現(xiàn)實(shí)主義，抑或后來提倡的革命現(xiàn)實(shí)主義與革命浪漫主義兩結(jié)合的創(chuàng)作方法，這些不同的提法都是把革命、階級斗爭等政治話語強(qiáng)加給“現(xiàn)實(shí)主義”，讓電影逐步服從政治權(quán)力的控制。因此，本文將這些不同提法統(tǒng)稱為“革命現(xiàn)實(shí)主義”。 這種“革命現(xiàn)實(shí)主義”電影及電影批評經(jīng)過半個(gè)多世紀(jì)的發(fā)展，負(fù)載了過重的意識形態(tài)內(nèi)容，并逐步異化成了一種獨(dú)尊的創(chuàng)作方法和批評原則。改革開放之后，電影批評圍繞著如何去除“革命現(xiàn)實(shí)主義”所負(fù)載的過重意識形態(tài)展開了激烈討論�？梢哉f，80年代的電影批評史就是“革命現(xiàn)實(shí)主義”受到圍剿而逐漸喪失其霸權(quán)地位的過程。本文對這一消解過程進(jìn)行了具體分析和研究。從總體上說，“革命現(xiàn)實(shí)主義”電影批評在80年代的消解大致可以分為三個(gè)階段： 第一階段70年代末到80年代初，當(dāng)時(shí)電影批評仍然籠罩在革命話語之下，在思想解放運(yùn)動(dòng)的引導(dǎo)下，電影批評界試圖掙脫政治權(quán)力對電影創(chuàng)作與電影批評的規(guī)訓(xùn)，于是，電影批評者對“革命現(xiàn)實(shí)主義”電影批評進(jìn)行了重建與現(xiàn)代化改造。這一努力主要從兩個(gè)方面進(jìn)行：一是從傳統(tǒng)的現(xiàn)實(shí)主義理論資源內(nèi)部對“革命現(xiàn)實(shí)主義”進(jìn)行重構(gòu)，以啟蒙為主的電影批評試圖顛覆真實(shí)性、傾向性、典型性三者之間的等級秩序來重新定義現(xiàn)實(shí)主義，由此導(dǎo)致了社會主義現(xiàn)實(shí)主義與批判現(xiàn)實(shí)主義之間出現(xiàn)了激烈的話語沖突。二是從現(xiàn)實(shí)主義理論資源的外部入手，即引入紀(jì)實(shí)美學(xué)、“現(xiàn)代派”、“非戲劇化”等西方電影理論資源，對電影創(chuàng)作進(jìn)行形式上的現(xiàn)代化改造。紀(jì)實(shí)美學(xué)在中國的傳播一方面是電影批評者試圖通過確立真實(shí)性對于傾向性的優(yōu)先地位，來達(dá)到去意識形態(tài)化的目的，另一方面也通過長鏡頭理論來突破蒙太奇的專制。同樣，對西方“現(xiàn)代派”與“非戲劇化”等理論資源的啟用，也是以啟蒙為核心的電影批評試圖通過表現(xiàn)形式的創(chuàng)新來打碎僵化單一的意識形態(tài)，從而達(dá)到顛覆革命話語與權(quán)力秩序的目的�？傊�，“新時(shí)期”對“革命現(xiàn)實(shí)主義”的重構(gòu)與改造，其實(shí)質(zhì)是啟蒙思潮影響下電影批評者的政治訴求在電影批評中的隱性表達(dá)。 第二階段出現(xiàn)在80年代中期，如果說“新時(shí)期”初對“革命現(xiàn)實(shí)主義”的重構(gòu)與現(xiàn)代化改造，仍然是以承認(rèn)“革命現(xiàn)實(shí)主義”在電影創(chuàng)作和電影批評中的權(quán)威地位為前提的話，那么，隨著第五代電影的崛起，，“革命現(xiàn)實(shí)主義”電影批評遭遇到了前所未有的危機(jī)。第五代電影以影像美學(xué)徹底打破了“革命現(xiàn)實(shí)主義”電影的傳統(tǒng)，被作為現(xiàn)代電影而備受推崇，但對“革命現(xiàn)實(shí)主義”電影成規(guī)的突破,也使得“革命現(xiàn)實(shí)主義”電影批評很難對第五代電影作出有效的解讀。于是影像批評以及西方“宏大理論”批評等多種批評方法紛紛出現(xiàn)。在當(dāng)時(shí)激進(jìn)的文化討論中，第五代電影因打破傳統(tǒng)而廣受贊譽(yù)，而謝晉電影則由于對傳統(tǒng)倫理價(jià)值的維護(hù)與對“革命現(xiàn)實(shí)主義”電影傳統(tǒng)的繼承而受到了過分的沖擊。不過，需要肯定的是，圍繞著第五代與謝晉電影模式而展開的電影批評浪潮實(shí)現(xiàn)了電影批評方法的更新，為電影批評界注入了不少生機(jī)和活力，各種新批評方法的涌現(xiàn)打破了“革命現(xiàn)實(shí)主義”電影批評一統(tǒng)天下的局面，開啟了中國電影批評多元化的格局。 第三階段發(fā)生在80年代后期，在為娛樂片正名的討論中，電影批評界實(shí)現(xiàn)了對電影娛樂功能的重新認(rèn)識，這在一定程度上瓦解了中國電影中一貫以來的“文以載道”的精神，將教化功能從電影中松綁，同時(shí)也為中國電影的商業(yè)化、市場化鋪平了道路�？梢哉f，正是在啟蒙話語與商業(yè)話語的前后夾擊之下，雄踞中國影壇半個(gè)多世紀(jì)的“革命現(xiàn)實(shí)主義”電影批評最終消解在中國電影的商業(yè)化與市場化的大潮之中。
[Abstract]:Whether it is the beginning of the founding of the critics discussed the "revolutionary realism" was subsequently introduced from Soviet Socialist Realism, or revolutionary realism and revolutionary romanticism later advocated the combination of two creation method, these different formulations are the revolution, class struggle and political discourse on "realism", make the film control obey the political power gradually. Therefore, the different formulation called "revolutionary realism".
This "revolutionary realism" film and film criticism after half a century of development, the ideological content of the heavy load, and gradually become a creative method and the principle of criticism. Only after the reform and opening up, film criticism around how to remove the "revolutionary realism" of the ideology of a fierce heavy load discussion. It can be said that the 80s film criticism is the history of the "revolutionary realism" by encirclement and lose its hegemony. This paper made a concrete analysis and study of the digestion process. Generally speaking, the "revolutionary realism" of film criticism in the 80s resolution can be roughly divided into three stages:
The first stage in late 70s to early 80s, when the film criticism is still shrouded in the revolutionary discourse, in the ideological liberation movement under the guidance of the film critics tried to break away from the political power of film creation and film criticism discipline, so the film critics of the "revolutionary realism" of film criticism for the reconstruction and modernization of the transformation. Efforts mainly from two aspects: one is to reconstruct the "revolutionary realism" from traditional realism theory of internal resources, with the enlightenment based film criticism trying to subvert the authenticity and tendentiousness, between the typical three order to redefine the realism, which resulted in the emergence of the fierce conflict discourse between socialist realism and critical realism. The two is from the external resources of realism theory, namely the introduction of documentary aesthetics, "modern", "non play Drama "western film theory, modernization form of film creation. In the China propagation of documentary aesthetics is a film critics by trying to establish the truth for priority orientation, to achieve the purpose of ideology, on the other hand is to break through the long shot theory of autocratic montage. Similarly, enable to western" modern "and" non dramatic "theory of resources, but also to the enlightenment as the core of the innovation of film criticism attempts to form to break the single rigid ideology, to subvert the revolutionary discourse and power order. In short, the" new era "of the" revolutionary realism "the reconstruction and transformation, its essence is the implicit expression of enlightenment to influence the political appeal of film critics in the film criticism.
The second stage in the middle of 80s, if the "new period" at the beginning of the "revolutionary realism" reconstruction and modernization, is still to a position of authority that the "revolutionary realism" in the creation of the film and film criticism in the premise, then, with the rise of the fifth generation films, "revolutionary realism" film criticism encounters hitherto unknown crisis. The fifth generation film to completely break the aesthetic image of the "revolutionary realism" films, has been touted as a modern movie, but the "revolutionary realism" film conventions breakthrough, but also makes the "revolutionary realism" film criticism is difficult to make an effective interpretation of the fifth generation film. So the image criticism and the western "grand theory" criticism and other criticism methods have emerged. In the discussion at the time of radical culture, the fifth generation film by breaking the traditional Praised and Xie Jin film due to the traditional ethics value maintenance and inheritance of "revolutionary realism" movie tradition by too much impact. However, to be sure, around the fifth generation and the Xie Jin movie mode and launched a wave of criticism in film film criticism method update. A lot of vigor and vitality for Film Critics, the emergence of various new critical methods to break the "revolutionary realism" of film criticism domination, opened the Chinese film criticism pattern of diversification.
The third stage occurred in the late 80s, in the discussion for entertainment name, film critics realize the re understanding of the film and entertainment function, which to some extent, the collapse of the Chinese film has always been the "Writings are for conveying truth." spirit, relaxed education function from the film, but also for China movie commercialization that paved the way for the market. It can be said that it is in front of enlightenment discourse and commercial discourse under attack in the China film more than half a century of "revolutionary realism" in the final film criticism Chinese digestion film commercialization and marketization of the tide.

【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】：2013
【分類號】：J909.2

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 陳犀禾;論巴贊的電影真實(shí)觀念[J];當(dāng)代電影;1984年01期

2 馬德波 ,戴光晰;“非戲劇化”縱橫論[J];當(dāng)代電影;1984年03期

3 李陀;《黃土地》給我們帶來了什么?[J];當(dāng)代電影;1985年02期

4 王樹舜;創(chuàng)新芻議——對《黃土地》等幾部影片的淺析[J];當(dāng)代電影;1985年02期

5 姚曉o

本文編號：1601360