蘇聯(lián)電影在中國的傳播與接受（1950-1960）
發(fā)布時間：2018-08-20 13:21
【摘要】：1949年中華人民共和國建立之后,共產(chǎn)黨迫切需要在大陸開展一場社會主義新文化建設(shè)運動,進(jìn)行意識形態(tài)整合,掌握文化領(lǐng)導(dǎo)權(quán)。蘇聯(lián)作為社會主義陣營的“老大哥”,其先進(jìn)的社會主義文化自然成為新中國學(xué)習(xí)和效仿的對象。而在眾多的文化形式中,電影以它的大眾化、通俗性、易于復(fù)制和推廣在培養(yǎng)人民的社會主義認(rèn)同感、建構(gòu)民族想象的過程中發(fā)揮著更重大的作用。為此,學(xué)習(xí)蘇聯(lián)電影成為國家層面的策略和行動。在這個總體的框架下,蘇聯(lián)電影在中國的傳播便呈現(xiàn)出復(fù)雜的圖景,它與中國的國內(nèi)政策、地緣政治特別是新中國國家形象的確立產(chǎn)生多重的關(guān)聯(lián)。 1950-1960年是中蘇關(guān)系總體交好的十年,這期間大量的蘇聯(lián)電影被引進(jìn)和放映。斯大林時期的經(jīng)典電影對于革命戰(zhàn)爭歷史的敘述、對于社會主義和共產(chǎn)主義的想象,符合了新中國對革命戰(zhàn)爭性質(zhì)的認(rèn)識、對新型社會主義文化的設(shè)想,因此在新中國產(chǎn)生了積極的影響,并且這種積極影響蔓延到流行文化中。而蘇聯(lián)的“解凍電影”尤其是新戰(zhàn)爭片的人道主義思想,與新中國文化中對革命性的強(qiáng)調(diào)、對個人主義的批判相悖,而遭遇認(rèn)同危機(jī)。與此同時,新中國展開了對電影民族性的探索。
[Abstract]:After the founding of the people's Republic of China in 1949, the Communist Party urgently needed to carry out a socialist new cultural construction movement in the mainland, carry out ideological integration and grasp the cultural leadership. As the Big Brother of the socialist camp, the Soviet Union's advanced socialist culture naturally became the object of study and emulation in New China. In many cultural forms, film plays a more important role in the process of cultivating people's socialist identity and constructing national imagination because of its popularity and popularity. To this end, learning from the Soviet film has become a strategy and action at the national level. Under this overall framework, the spread of Soviet films in China presents a complex picture, which is related to China's domestic policy. Geopolitics, especially the establishment of the national image of New China, had many connections. 1950-1960 was a decade of overall friendship between China and the Soviet Union, during which a large number of Soviet films were introduced and shown. The narration of the history of the revolutionary war and the imagination of socialism and communism in the classic films of Stalin period accord with the new China's understanding of the nature of the revolutionary war and the vision of the new socialist culture. Therefore, in the new China had a positive impact, and this positive impact spread to popular culture. The Soviet Union's "thawing film", especially the humanitarianism of the new war film, ran counter to the emphasis on revolution and the criticism of individualism in the new Chinese culture, and encountered a crisis of identity. At the same time, the new China began to explore the national character of the film.
【學(xué)位授予單位】：中國藝術(shù)研究院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J909.1
本文編號：2193764
[Abstract]:After the founding of the people's Republic of China in 1949, the Communist Party urgently needed to carry out a socialist new cultural construction movement in the mainland, carry out ideological integration and grasp the cultural leadership. As the Big Brother of the socialist camp, the Soviet Union's advanced socialist culture naturally became the object of study and emulation in New China. In many cultural forms, film plays a more important role in the process of cultivating people's socialist identity and constructing national imagination because of its popularity and popularity. To this end, learning from the Soviet film has become a strategy and action at the national level. Under this overall framework, the spread of Soviet films in China presents a complex picture, which is related to China's domestic policy. Geopolitics, especially the establishment of the national image of New China, had many connections. 1950-1960 was a decade of overall friendship between China and the Soviet Union, during which a large number of Soviet films were introduced and shown. The narration of the history of the revolutionary war and the imagination of socialism and communism in the classic films of Stalin period accord with the new China's understanding of the nature of the revolutionary war and the vision of the new socialist culture. Therefore, in the new China had a positive impact, and this positive impact spread to popular culture. The Soviet Union's "thawing film", especially the humanitarianism of the new war film, ran counter to the emphasis on revolution and the criticism of individualism in the new Chinese culture, and encountered a crisis of identity. At the same time, the new China began to explore the national character of the film.
【學(xué)位授予單位】：中國藝術(shù)研究院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J909.1
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