本文選題：年代　切入點(diǎn)：上海　出處：《四川師范大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版)》2017年03期

【摘要】：1930年代的上海是中國(guó)電影制片業(yè)的黃金時(shí)代,也是傳統(tǒng)婚姻發(fā)生激烈變革的時(shí)代。在時(shí)代的裹挾下,電影演員大多婚姻自主,不僅同居、訂婚、結(jié)婚、離婚、再婚完全出于自己的意愿,而且婚禮也大多采用與傳統(tǒng)迥異的新式婚禮、集體婚禮、西式婚禮等形式,無(wú)論是婚姻的觀念、行為還是結(jié)婚儀式都走在了時(shí)代的前沿,成為當(dāng)時(shí)婚姻變革的先鋒。這在一定程度上也是電影演員尤其是女性電影演員通過(guò)職業(yè)取得了獨(dú)立的經(jīng)濟(jì)地位、演員這一職業(yè)擁有廣泛的社交和從業(yè)者大多熱衷“表演”、喜歡追逐時(shí)髦、出風(fēng)頭的心理等諸多因素相互作用的結(jié)果。
[Abstract]:Shanghai in the 1930s was the golden age of China's film industry and the era of drastic changes in traditional marriage. Under the circumstances, film actors were mostly married independently, not only cohabiting, engaged, married and divorced. Remarriage is entirely out of one's own will, and most weddings take the form of new weddings, group weddings, and western-style weddings, which are quite different from the traditional ones. Both the concept, behavior and ceremony of marriage are at the forefront of the times. To be the vanguard of marriage change at that time. It was also partly because film actors, especially women film actors, achieved independent economic status through their careers. This profession has a wide range of social and practitioners most keen on "performance", like the pursuit of fashion, high-profile psychology and other factors of interaction.
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本文編號(hào)：1653001