發(fā)布時間：2018-05-13 12:31

  本文選題：史東山 + 美學追求�。� 參考：《西南大學》2014年碩士論文

【摘要】：作為中國早期電影的開創(chuàng)者,史東山始終以矛盾、復雜的形象出現(xiàn)在中國電影的歷史敘述當中,一方面他綿亙于二十年代中期到五十年代初,像一個地標性的建筑見證了國家的戰(zhàn)爭與瘡傷,民族的蒙昧與啟迪,人性的沉淪與拯救,值得人們抽絲剝繭,條分縷析的闡釋電影和歷史之間的斷裂與融合;另一方面,他“扁平”而非“豐滿”的形象,讓其在“強敵環(huán)伺”的代際劃分中,始終默默無聞。從發(fā)軔時期的唯美傾向到觀念嬗變后的國防電影,再到宏幅巨制的憂患史詩,以及最后歌頌人民戰(zhàn)爭的革命美學,他的作品始終帶有強烈的民族感和時代性,然而囿于特定歷史觀念和電影觀念的影響,主流價值卻并未給予他應有的認可,因此,重讀史東山及其電影作品成為了電影史中非常重要的一個議題。 論文共分為三個章節(jié),分別從電影作為藝術(shù)形式,電影作為社會機構(gòu)以及電影作為技術(shù)體系來闡述史東山影片當中反映出來的美學追求,社會問題和技術(shù)發(fā)展。
[Abstract]:As the pioneer of early Chinese films, Shi Dongshan always appeared in the historical narration of Chinese films with contradictory and complicated images. On the one hand, he lasted from the mid-twenties to the early 1950s. Like a landmark building that witnessed the wars and sores of the country, the ignorance and enlightenment of the nation, the sinking and saving of human nature, it is worth drawing a cocoon to explain the rupture and fusion between the film and history; on the other hand, His image of "flat" rather than "plump" kept him in obscurity in the intergenerational division of enmity. From the aesthetic tendency of the initial period to the national defense film after the change of concept, to the epic of suffering in the grand scale system, and finally to the revolutionary aesthetics of the people's war, his works always have a strong sense of nationality and the character of the times. However, due to the influence of specific historical concepts and film concepts, the mainstream value does not give him the recognition he deserves. Therefore, rereading Shi Dongshan and his films has become a very important topic in the history of film. The paper is divided into three chapters, respectively from the film as an art form, film as a social organization and film as a technical system to explain the aesthetic pursuit, social problems and technological development reflected in Shi Dongshan films.
【學位授予單位】：西南大學
【學位級別】：碩士
【學位授予年份】：2014
【分類號】：J905

【參考文獻】

相關(guān)期刊論文 前3條

1 黎萌;論“十七年”革命英雄主義電影的敘事模式[J];當代電影;2004年05期

2 瑪麗·法克哈;裴開瑞;劉宇清;沈大春;;影戲:一門新的中國電影的考古學[J];電影藝術(shù);2009年01期

3 舒曉鳴;史東山的早期電影創(chuàng)作與“唯美主義”[J];電影藝術(shù);1996年04期

，

本文編號：1883160