本文選題：上海電影　切入點(diǎn)：文化生態(tài)　出處：《山東師范大學(xué)》2013年博士論文

【摘要】：民國(guó)電影，特別是1927至1937年的上海電影，是中國(guó)電影史上十分精彩的一頁(yè)，它承前啟后，開(kāi)創(chuàng)了一個(gè)嶄新的階段，被譽(yù)為“黃金的十年”。本文以1927至1937年的中國(guó)上海電影文化生態(tài)為論文選題，研究的重點(diǎn)在于描述、考察和揭示1927至1937年上海電影文化生存、發(fā)展、變化的各種社會(huì)的、政治的、經(jīng)濟(jì)的、文化等環(huán)境要素及其相互關(guān)系，探討電影文化在這些環(huán)境要素中如何被制約、被影響、被塑造，以及在反抗、掙扎、適應(yīng)和改造環(huán)境過(guò)程中，呈現(xiàn)出來(lái)的具有自己獨(dú)特的運(yùn)行機(jī)制、活動(dòng)軌跡及其發(fā)展策略，力圖對(duì)“上海電影文化生態(tài)”做出一個(gè)比較全面、深入、真實(shí)的歷史觀照。 導(dǎo)論部分對(duì)相關(guān)概念、選題緣由及研究方法進(jìn)行了簡(jiǎn)要論述。 第一章著重論析了社會(huì)語(yǔ)境及其對(duì)上海電影文化生態(tài)的影響。30年代的上海電影，首先是在30年代上海這個(gè)獨(dú)特的物質(zhì)空間與社會(huì)空間中發(fā)展起來(lái)的。這個(gè)社會(huì)語(yǔ)境主要由三個(gè)部分構(gòu)成，一是上海作為中國(guó)近代被迫向西方打開(kāi)的大門(mén)，它沒(méi)有成為中國(guó)新的政治中心，也沒(méi)有成為中西雙方爭(zhēng)奪的軍事要地，而是成為中西商貿(mào)活動(dòng)重要的集散地，形成了其極具現(xiàn)代性、開(kāi)放性與世界性的城市空間；其二，上海作為與中國(guó)傳統(tǒng)城市不同的、以江浙粵人群為主體組成的現(xiàn)代移民城市，形成了既有江浙粵特色，又有移民精神的社會(huì)空間；其三，上海作為西方租界與華界共存，受制、受限并受惠于西方最多的地區(qū)，構(gòu)成了當(dāng)時(shí)中國(guó)中西文化交流最為活躍的文化空間。這三者構(gòu)成了當(dāng)時(shí)中國(guó)電影文化活動(dòng)的社會(huì)文化語(yǔ)境，并對(duì)當(dāng)時(shí)上海電影文化生態(tài)產(chǎn)生了很大的影響。 第二章著重論述了政治勢(shì)力及其對(duì)上海電影文化生態(tài)的制約。30年代的上海電影，也是在上海各種政治勢(shì)力的制約、影響與參與中發(fā)展起來(lái)的，當(dāng)時(shí)的上海，是中國(guó)主要政治力量交鋒的重要戰(zhàn)場(chǎng)，也是上海電影無(wú)可躲避、必須面對(duì)的政治文化環(huán)境。當(dāng)時(shí)上海的政治勢(shì)力主要有三部分構(gòu)成，一是國(guó)民黨執(zhí)政的國(guó)民政府，一是活動(dòng)在上海的共產(chǎn)黨及其外圍組織，三是活躍在上海的大大小小的幫會(huì)勢(shì)力。這三種政治勢(shì)力都非常重視電影的巨大影響力與實(shí)際效益，并直接介入了上海電影文化的生成與發(fā)展活動(dòng)。但是這三種政治力量對(duì)電影介入的方式又各不相同，國(guó)民政府主要進(jìn)行政策管控，共產(chǎn)黨及其外圍組織主要做的是思想介入，，作為特殊政治力量而存在的幫會(huì)則主要是從經(jīng)濟(jì)上插手。這三種政治勢(shì)力相互作用，直接影響到了上海電影文化生態(tài)的走向。 第三章主要論述上海電影的市場(chǎng)處境及上海電影人的商業(yè)策略。30年代的上海電影，不僅受到當(dāng)時(shí)社會(huì)活動(dòng)空間的影響，受到不同政治勢(shì)力的影響，更受到市場(chǎng)的影響，特別是好萊塢電影對(duì)中國(guó)電影構(gòu)成了巨大的市場(chǎng)壓力。然而這一時(shí)期中國(guó)電影又是電影發(fā)展最迅速的時(shí)期，企業(yè)規(guī)模增強(qiáng)，電影形態(tài)成熟，出品數(shù)量增加，不論在政治上還是藝術(shù)上都使中國(guó)電影的主體性得以進(jìn)一步確立，并出現(xiàn)了一大批優(yōu)秀的民族電影代表作。這一文化生態(tài)的形成，與上海電影在市場(chǎng)機(jī)制上的成功探索有關(guān)。在處于不利的市場(chǎng)競(jìng)爭(zhēng)中，上海電影實(shí)現(xiàn)商業(yè)突圍，表現(xiàn)了上海電影文化的生存智慧。 第四章主要論述了上海消費(fèi)群體的觀影取向及上海電影的文化選擇。30年代上海電影文化生態(tài)的生存發(fā)展，與上海電影觀眾有著密切的關(guān)系。因?yàn)殡娪芭c觀眾是相互依存的，沒(méi)有電影當(dāng)然沒(méi)有觀眾；離開(kāi)了觀眾，電影也就失去了存在的意義。作為商業(yè)化的大眾藝術(shù)，從某種意義上說(shuō)，消費(fèi)者是決定其價(jià)值的第一要素，也是影響電影文化生態(tài)的重要因素。因此，觀眾在進(jìn)行電影消費(fèi)活動(dòng)中的審美取向就變得很重要。事實(shí)上，上海電影文化在發(fā)展過(guò)程中，是非常重視觀眾的觀影取向的，因?yàn)橹挥姓莆樟擞^眾最基本的審美取向及其心理需求與期待，才能最大限度地引起觀眾的消費(fèi)欲望與觀看興趣。正是在這種情況下，才形成了當(dāng)時(shí)上海獨(dú)有的電影制作體制與電影批評(píng)模式。 第五章主要論述上海電影對(duì)上海社會(huì)文化生態(tài)的影響。30年代上海電影文化的成熟，是這個(gè)城市、這個(gè)社會(huì)、這個(gè)時(shí)代給予的，沒(méi)有這種特殊的生態(tài)環(huán)境，也就不會(huì)有上海電影豐富、多樣的文化生態(tài)。但是反過(guò)來(lái)，上海電影文化的多樣性、豐富性，對(duì)上海社會(huì)文化生態(tài)也產(chǎn)生了積極有益的作用，特別是對(duì)上海人的自我認(rèn)同的形成、上海消費(fèi)文化的流行，以及上海市民民族主義意識(shí)的覺(jué)醒等方面，上海的電影文化都是功不可沒(méi)的。 結(jié)語(yǔ)部分對(duì)上海電影文化生態(tài)顯現(xiàn)出來(lái)的意義、經(jīng)驗(yàn)進(jìn)行了簡(jiǎn)單的總結(jié)說(shuō)明。
[Abstract]:In the movie, especially from 1927 to 1937 Shanghai film, is China film in the history of a brilliant page, which ushered in a new stage, known as the "golden ten years". In 1927 to 1937 in Shanghai Chinese film culture ecology as the thesis topic, the focus of the study is to describe 1927 to 1937, examine and explore the Shanghai film culture survival, development, social change, political, economic, cultural and other environmental factors and their relationship, to explore how the film culture is restricted in these environmental factors affected, be shaped, as well as in the fight, struggle, adaptation and transformation of the environment in the process of show, has its own unique operating mechanism, trajectory and its development strategy, trying to "Shanghai film cultural ecology" to make a more comprehensive, in-depth, real history.
The introduction gives a brief account of the related concepts, the reasons for the topic and the research methods.
The first chapter focuses on the analysis of the social context and its influence on Shanghai film culture ecological.30 in the Shanghai film, it was first developed in Shanghai in 30s this unique material space and social space. The social context mainly consists of three parts, one is Shanghai as a modern western China was forced to open the door. It has become the new political center China, did not become a Western military battle between the two sides, but the foreign trade activities become an important distribution center, the formation of its very modern, open and cosmopolitan city space; second, Shanghai is different and Chinese traditional city, Guangdong people for modern immigrants to Jiangsu and Zhejiang the main component of the city, the formation of both Guangdong and Jiangsu and Zhejiang have characteristics, the immigrant spirit of social space; third, as western Shanghai concession and Chinese subject coexist, and benefit from the west, LIMITED The most common area constituted the most active cultural space of Chinese and Western cultural exchanges at that time. These three constituted the social and cultural context of Chinese film culture at that time, and had a great impact on the Shanghai film culture ecology.
The second chapter focuses on the political forces and the restriction of the Shanghai film.30 in the cultural ecology of the Shanghai film, but also restricted the various political forces in Shanghai, the development influence and participation in the Shanghai at that time, is an important battlefield China main political forces of confrontation, the Shanghai film is inevitable, must face the political culture at the time of the Shanghai environment. Political power is composed of three parts, one is the ruling Kuomintang national government, is a communist activity in Shanghai and its peripheral tissue, three is active in Shanghai's large and small Gang forces. The tremendous influence of the three political forces have attached great importance to the film and the actual benefit, and directly involved in the formation and development of Shanghai film culture. But the three political forces on the movie intervention is also different. The main national government policy control, Co The production party and its peripheral organizations mainly do ideological intervention. The gang that exists as a special political force mainly intervenes in economy. The interaction of these three political forces directly affects the trend of Shanghai's movie culture ecology.
The third chapter mainly discusses.30's business strategy of Shanghai film market situation and the Shanghai film of the Shanghai film, not only affected the social space, affected by the different political forces, more affected by the market, especially Hollywood movies constitute a huge market pressure on the film China. However, during this period China the movie is the movie the most rapid period of development, enterprise scale enhancement, film morphology of mature, production quantity increase, whether in politics or art have the subjectivity China film can be further established, and the emergence of a large number of outstanding national film masterpiece. The formation of ecological culture, and Shanghai film in the market the mechanism of successful exploration. In a disadvantageous competition in the market, Shanghai film business breakthrough, showing the survival wisdom of Shanghai movie culture.
The fourth chapter mainly discusses the viewing orientation and Shanghai movie culture choice of survival and development of Shanghai movie culture ecology.30 Shanghai's consumer groups, has a close relationship with the Shanghai film audience. Because of the film and the audience are interdependent, not of course no film left the audience; the audience, the film will lose its meaning. As a commercial art for the masses, in a sense, the consumer is the first factor to determine its value, is also an important factor affecting the film culture ecology. Therefore, the audience aesthetic orientation in the film in consumption activity is very important. In fact, the Shanghai film culture in the process of development, is very important the audience's viewing orientation, because only grasp the aesthetic orientation and psychological needs of the audience and look forward to the most basic, in order to maximize the audience's desire for consumption and watch Interest. It was in this case that the unique film making and film criticism pattern of Shanghai was formed at that time.
The fifth chapter mainly discusses the mature.30 in Shanghai film culture Shanghai film influence on Shanghai social and cultural ecology, is the city, this society, this time to give, not this unique environment, will not have the Shanghai film rich and varied cultural ecology. But in turn, diversity, Shanghai film culture rich, also produced a positive effect to Shanghai social and cultural ecology, especially the formation of Shanghai people's self-identity, popular consumer culture in Shanghai, and the people of Shanghai nationalism consciousness and other aspects, Shanghai film culture is undeniable.
The conclusion is a brief summary of the significance of the cultural ecology of Shanghai film.

【學(xué)位授予單位】：山東師范大學(xué)
【學(xué)位級(jí)別】：博士
【學(xué)位授予年份】：2013
【分類(lèi)號(hào)】：J909

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