本文選題：岳楓　切入點(diǎn)：早期電影　出處：《中國(guó)電影藝術(shù)研究中心》2013年碩士論文

【摘要】：岳楓是被中國(guó)電影史著述長(zhǎng)期貶低或淡忘的電影導(dǎo)演。他于20世紀(jì)40至70年代中國(guó)電影史的變遷中經(jīng)歷了“左翼”時(shí)期、“軟性電影”時(shí)期、“孤島”時(shí)期、淪陷時(shí)期、戰(zhàn)后時(shí)期和香港時(shí)期,共創(chuàng)作了近百部影片。其執(zhí)導(dǎo)的影片迎合商業(yè)化發(fā)展的要求,涵蓋了古裝片／民間故事片、愛(ài)情悲劇／家庭倫理片、偵探／犯罪／間諜、武俠片、歌舞片、集錦片等不同的商業(yè)電影類(lèi)型,其導(dǎo)演生涯無(wú)論從內(nèi)容還是從形式上皆可謂一部商業(yè)電影史。 他的電影遵循著中國(guó)早期電影的商業(yè)策略,呈現(xiàn)出中西融合的雜糅性。他一是跟隨類(lèi)型熱潮生產(chǎn)不同的類(lèi)型電影,本土化類(lèi)型與好萊塢模仿之作并存,類(lèi)型之間也有發(fā)展流變與自我復(fù)制；二是遵循著商業(yè)題材慣用的改編策略,從中外文學(xué)與電影名著、戲劇戲曲中取材,挖掘本土故事,借鑒外國(guó)題材,迎合觀(guān)眾口味。同時(shí),作為一個(gè)制片廠(chǎng)制度下的藝術(shù)匠人,他最大的特點(diǎn)是“電影化”,其手法兼收并蓄,既有對(duì)影戲傳統(tǒng)的延續(xù),也有對(duì)好萊塢鏡語(yǔ)的借鑒,技巧為敘事服務(wù)。 本文對(duì)岳楓的研究目的,一是隨著電影史觀(guān)的進(jìn)步,重新還原與挖掘一些被忽略與遮蔽的早期商業(yè)導(dǎo)演；二是以岳楓的個(gè)案透視早期商業(yè)電影生態(tài),為中國(guó)電影史的建構(gòu)做一些補(bǔ)充。
[Abstract]:Yue Feng is a film director who has long been belittled or forgotten by the works of Chinese film history. He experienced the "left wing" period, the "soft film" period, the "isolated island" period and the fall of the Chinese film history in the 1940s and 1970s. During the postwar period and the period of Hong Kong, nearly 100 films were produced. The films directed by them cater to the requirements of commercial development. They cover ancient clothes / folk feature films, love tragedies / family ethics films, detective / crime / spies, martial arts films, etc. Song and dance films, collections and other different types of commercial films, their career in terms of both content and form can be described as a commercial film history. His films follow the commercial strategy of the early Chinese films, showing a mixture of Chinese and Western. First, he produced different types of films with the trend of type, and the localization type co-existed with Hollywood imitations. There are also developmental changes and self-replicas between the types. Second, they follow the usual adaptation strategy of commercial themes, draw materials from Chinese and foreign literary and film masterpieces, drama and operas, dig up local stories, draw lessons from foreign themes, and cater to the tastes of the audience. At the same time, As an art craftsman under the studio system, his greatest characteristic is "cinematography", his technique is eclectic, not only the continuation of the tradition of the film play, but also the reference to Hollywood mirror language, the skill serves for the narration. The purpose of this paper is to restore and excavate some neglected and sheltered early commercial directors with the progress of the view of film history, and to analyze the ecology of early commercial films with Yue Feng's case. To make some additions to the construction of Chinese film history.
【學(xué)位授予單位】：中國(guó)電影藝術(shù)研究中心
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：J911

【參考文獻(xiàn)】

相關(guān)期刊論文 前7條

1 趙衛(wèi)防;文化和鏡語(yǔ)的商業(yè)性延續(xù)——五六十年代香港電影的再認(rèn)識(shí)[J];當(dāng)代電影;2004年04期

2 孫曉川;;中國(guó)早期電影改編的類(lèi)型化創(chuàng)作模式研究[J];德宏師范高等專(zhuān)科學(xué)校學(xué)報(bào);2012年02期

3 張一瑋;;屠光啟:滬港兩地類(lèi)型化商業(yè)電影的編導(dǎo)者[J];電影藝術(shù);2011年03期

4 王騰飛;石川;;政治、商業(yè)的交匯與糾纏——“華影”制片、發(fā)行、放映研究[J];當(dāng)代電影;2012年09期

5 李迅;;再談電影觀(guān)念:類(lèi)型片的創(chuàng)作、產(chǎn)業(yè)和管理[J];電影藝術(shù);2012年04期

6 虞吉;;早期中國(guó)類(lèi)型電影與商業(yè)電影傳統(tǒng)[J];現(xiàn)代傳播(中國(guó)傳媒大學(xué)學(xué)報(bào));2007年01期

7 傅葆石;黃銳杰;;回眸“花街”:上�！傲魍鲇叭恕迸c戰(zhàn)后香港電影[J];現(xiàn)代中文學(xué)刊;2011年01期

，

本文編號(hào)：1654814