由教化而娛樂—格里菲斯的中國評說
發(fā)布時間：2019-03-17 19:45
【摘要】：本文旨在描述民國早期格里菲斯電影的在華批評史,并系統(tǒng)地梳理了《賴婚》、《殘花淚》、《亂世孤雛》、《重見光明》(《一個國家的誕生》)、《專制毒》(《黨同伐異》)等影片的發(fā)行、放映以及接受情況。依據(jù)現(xiàn)有的文獻(xiàn)材料來看,其批評取徑涉及道德評判、民族主義、情節(jié)劇三個方面。就道德評判而言,評論者們從格氏電影中各取所需,援引之以支撐各自不同的、甚至是針鋒相對的道德主張,用以譴責(zé)各自認(rèn)定的道德困境。就民族主義而言,雖然諸種評論因立足不同而褒貶不一,但是民族主義立場卻一以貫之,并未有所轉(zhuǎn)移。不同于上述兩種注重教化的批評取徑,注重娛樂的情節(jié)劇批評逐漸占據(jù)上風(fēng),開一時之風(fēng)氣。這顯示了早期電影批評的新的可能性:由深究教化命意而講求娛樂效果,由道德國族而悲喜哀情,由制造緊張而釋放焦慮。轉(zhuǎn)向之所以可能,在于道德主義天然寓于情節(jié)劇之中。情節(jié)劇出乎正義,因而命意可以暫且避去不談,格氏電影故而免于側(cè)重教化的評判,注重娛樂的電影批評由此成為可能。
[Abstract]:The purpose of this article is to describe the critical history of Griffith's films in China in the early Republic of China, and to systematically sort out Lai's Marriage, the residual tears, the Lonely Young in troubled Times, and the Light again (the birth of a country). The distribution, screening and acceptance of films such as "the Party and the Expedition". According to the existing literature, its criticism involves three aspects: moral judgment, nationalism and melodrama. As far as moral judgment is concerned, commentators take what they need from Grignard's films, citing them to support their different, or even tit-for-tat, moral claims to denounce their own moral dilemmas. As far as nationalism is concerned, although all kinds of comments differ because they are based on different opinions, the nationalist positions are consistent and have not been shifted. Different from the above-mentioned two kinds of criticism, pay attention to entertainment, the criticism of melodrama gradually occupy the upper hand and open the atmosphere for a while. This shows the new possibility of early film criticism: the entertainment effect is emphasized by the education of destiny, the sorrow and sadness by moral nation, and the anxiety by creating tension. The reason why the turn is possible is that moralism naturally resides in the melodrama. Melodrama is beyond justice, so fate can be avoided for the time being. Therefore, Grignard films are not judged by the emphasis on education, which makes it possible to pay attention to entertainment film criticism.
【學(xué)位授予單位】：中山大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J905
本文編號：2442637
[Abstract]:The purpose of this article is to describe the critical history of Griffith's films in China in the early Republic of China, and to systematically sort out Lai's Marriage, the residual tears, the Lonely Young in troubled Times, and the Light again (the birth of a country). The distribution, screening and acceptance of films such as "the Party and the Expedition". According to the existing literature, its criticism involves three aspects: moral judgment, nationalism and melodrama. As far as moral judgment is concerned, commentators take what they need from Grignard's films, citing them to support their different, or even tit-for-tat, moral claims to denounce their own moral dilemmas. As far as nationalism is concerned, although all kinds of comments differ because they are based on different opinions, the nationalist positions are consistent and have not been shifted. Different from the above-mentioned two kinds of criticism, pay attention to entertainment, the criticism of melodrama gradually occupy the upper hand and open the atmosphere for a while. This shows the new possibility of early film criticism: the entertainment effect is emphasized by the education of destiny, the sorrow and sadness by moral nation, and the anxiety by creating tension. The reason why the turn is possible is that moralism naturally resides in the melodrama. Melodrama is beyond justice, so fate can be avoided for the time being. Therefore, Grignard films are not judged by the emphasis on education, which makes it possible to pay attention to entertainment film criticism.
【學(xué)位授予單位】：中山大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2013
【分類號】：J905
【參考文獻(xiàn)】
相關(guān)期刊論文 前1條
1 米蓮姆·布拉圖·漢森,包衛(wèi)紅;墮落女性,冉升明星,新的視野:試論作為白話現(xiàn)代主義的上海無聲電影[J];當(dāng)代電影;2004年01期
，本文編號：2442637
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