試論左翼電影中的知識(shí)分子形象
發(fā)布時(shí)間：2018-08-19 16:52
【摘要】：本文是對(duì)二十世紀(jì)三十年代左翼電影中知識(shí)分子形象的考察和研究。 知識(shí)分子形象是左翼電影的有機(jī)組成部分。它的出現(xiàn)與發(fā)展是左翼電影人物形象塑造中不可磨滅的一筆，更使左翼電影塑造的典型更加豐富飽滿。 左翼電影作為注重意識(shí)形態(tài)的藝術(shù)，以反帝反封建的姿態(tài)，關(guān)注民族救亡、社會(huì)前景、現(xiàn)實(shí)改造，擔(dān)負(fù)著啟蒙社會(huì)的歷史使命。在電影中的知識(shí)分子形象更是下足功夫詮釋當(dāng)時(shí)知識(shí)分子的生存境遇與奮斗精神。 本文的意圖就是在探析左翼電影運(yùn)動(dòng)的社會(huì)歷史文化語(yǔ)境、客觀系統(tǒng)地分析其發(fā)生的歷史契機(jī)的條件下，對(duì)左翼電影中的知識(shí)分子形象作系統(tǒng)、全面的透徹研究，包括它們的主要分類、價(jià)值判斷與思想淵源以及它們的社會(huì)影響和對(duì)當(dāng)下的借鑒意義等。 本文將從五個(gè)部分對(duì)左翼電影中的知識(shí)分子形象進(jìn)行深入細(xì)致的分析和解讀。 第一部分從知識(shí)分子的形成、左翼電影運(yùn)動(dòng)的發(fā)生及左翼電影中知識(shí)分子形象的審美特征做整體分析，論述左翼電影和左翼電影中知識(shí)分子形象的創(chuàng)作。上海文化的融匯中西、包羅萬(wàn)象，給予了左翼電影的發(fā)展空間。而“九?一八”、“一?二八”事變的發(fā)生，又促使了民族救亡和啟蒙成為國(guó)人的迫切需求。由此為契機(jī)，左翼電影人士進(jìn)入電影界，，推動(dòng)左翼電影運(yùn)動(dòng)的發(fā)展，使1930年代的電影達(dá)到了高峰。 第二部分系統(tǒng)地分析左翼電影中涉及到的知識(shí)分子形象，并進(jìn)行了分類：一是堅(jiān)定的革命進(jìn)步知識(shí)分子形象，二是歷經(jīng)磨難逐漸成長(zhǎng)的知識(shí)分子形象，三是飽受黑暗社會(huì)侵蝕的知識(shí)分子形象。 第三部分分析研究左翼電影中知識(shí)分子形象的思想依據(jù)：一是無(wú)產(chǎn)階級(jí)革命思想的影響，二是立足都市的現(xiàn)代知識(shí)分子建設(shè)社會(huì)的情懷，三是中國(guó)傳統(tǒng)知識(shí)分子“以天下為己任”的思想。 第四部分系統(tǒng)分析左翼電影中知識(shí)分子形象的社會(huì)意義：一是對(duì)現(xiàn)代知識(shí)分子的訴求，二是對(duì)構(gòu)建先進(jìn)電影文化的借鑒，三是對(duì)提高現(xiàn)代公民意思的引導(dǎo)。 第五部分總結(jié)左翼電影在中國(guó)電影史在的歷史地位，并客觀分析其優(yōu)缺點(diǎn)。 只有深入地了解歷史、客觀系統(tǒng)地分析歷史，立足當(dāng)下，展望未來(lái)，才是一切歷史文化研究的根本目的，也是本文的內(nèi)在的根本目的。
[Abstract]:This paper is an investigation and research on the image of intellectuals in the left-wing films of the 1930 s. Intellectual image is an organic part of left-wing film. Its appearance and development is an indelible stroke in the portrayal of the characters of the left wing films, and makes the models of the left wing films more abundant and full. As the art of paying attention to ideology, left-wing films pay attention to national salvation, social prospect and realistic transformation with the attitude of anti-imperialist and anti-feudalism, and shoulder the historical mission of enlightening society. The image of intellectuals in the film is devoted to explaining the living conditions and fighting spirit of intellectuals at that time. The intention of this paper is to make a systematic and thorough study on the image of intellectuals in left-wing films under the condition of analyzing the social historical and cultural context of the left-wing film movement, and objectively and systematically analyzing the historical opportunity of its occurrence. It includes their main classification, value judgment and thought origin, their social influence and their reference significance to the present. This paper analyzes and interprets the image of intellectuals in left-wing films from five parts. The first part makes a whole analysis from the formation of intellectuals, the occurrence of left-wing film movement and the aesthetic characteristics of intellectual image in left-wing film, and discusses the creation of intellectual image in left-wing film and left-wing film. The fusion of Chinese and Western culture in Shanghai, all-inclusive, gave the left-wing film development space. And "Nine? One eight, one? The incident of 28 th made national salvation and enlightenment an urgent need. As an opportunity, left-wing filmmakers entered the film industry, promoted the development of left-wing film movement, and reached a peak in the 1930 s. The second part systematically analyzes the image of intellectuals involved in left-wing films, and classifies them as follows: first, the image of intellectuals who are firmly revolutionary and progressive, and second, the image of intellectuals who have gradually grown up after suffering, Third, the image of intellectuals eroded by the dark society. The third part analyzes the ideological basis of the image of intellectuals in left-wing films: first, the influence of proletarian revolutionary thought, and second, the feelings of modern intellectuals based on the city to build a society. Third, the Chinese traditional intellectuals' thought of "taking the world as their duty". The fourth part systematically analyzes the social significance of the image of intellectuals in left-wing films: first, the demands of modern intellectuals, the second is the reference to the construction of advanced film culture, and the third is the guidance to improve the meaning of modern citizens. The fifth part summarizes the historical position of left-wing film in the history of Chinese film, and objectively analyzes its advantages and disadvantages. Only by deeply understanding history, analyzing history objectively and systematically, based on the present and looking forward to the future, is the fundamental purpose of all historical and cultural studies, and also the intrinsic fundamental purpose of this paper.
【學(xué)位授予單位】：上海師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J905
[Abstract]:This paper is an investigation and research on the image of intellectuals in the left-wing films of the 1930 s. Intellectual image is an organic part of left-wing film. Its appearance and development is an indelible stroke in the portrayal of the characters of the left wing films, and makes the models of the left wing films more abundant and full. As the art of paying attention to ideology, left-wing films pay attention to national salvation, social prospect and realistic transformation with the attitude of anti-imperialist and anti-feudalism, and shoulder the historical mission of enlightening society. The image of intellectuals in the film is devoted to explaining the living conditions and fighting spirit of intellectuals at that time. The intention of this paper is to make a systematic and thorough study on the image of intellectuals in left-wing films under the condition of analyzing the social historical and cultural context of the left-wing film movement, and objectively and systematically analyzing the historical opportunity of its occurrence. It includes their main classification, value judgment and thought origin, their social influence and their reference significance to the present. This paper analyzes and interprets the image of intellectuals in left-wing films from five parts. The first part makes a whole analysis from the formation of intellectuals, the occurrence of left-wing film movement and the aesthetic characteristics of intellectual image in left-wing film, and discusses the creation of intellectual image in left-wing film and left-wing film. The fusion of Chinese and Western culture in Shanghai, all-inclusive, gave the left-wing film development space. And "Nine? One eight, one? The incident of 28 th made national salvation and enlightenment an urgent need. As an opportunity, left-wing filmmakers entered the film industry, promoted the development of left-wing film movement, and reached a peak in the 1930 s. The second part systematically analyzes the image of intellectuals involved in left-wing films, and classifies them as follows: first, the image of intellectuals who are firmly revolutionary and progressive, and second, the image of intellectuals who have gradually grown up after suffering, Third, the image of intellectuals eroded by the dark society. The third part analyzes the ideological basis of the image of intellectuals in left-wing films: first, the influence of proletarian revolutionary thought, and second, the feelings of modern intellectuals based on the city to build a society. Third, the Chinese traditional intellectuals' thought of "taking the world as their duty". The fourth part systematically analyzes the social significance of the image of intellectuals in left-wing films: first, the demands of modern intellectuals, the second is the reference to the construction of advanced film culture, and the third is the guidance to improve the meaning of modern citizens. The fifth part summarizes the historical position of left-wing film in the history of Chinese film, and objectively analyzes its advantages and disadvantages. Only by deeply understanding history, analyzing history objectively and systematically, based on the present and looking forward to the future, is the fundamental purpose of all historical and cultural studies, and also the intrinsic fundamental purpose of this paper.
【學(xué)位授予單位】：上海師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J905
【參考文獻(xiàn)】
相關(guān)期刊論文 前10條
1 鐘惦h
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