本文關(guān)鍵詞： 戲曲 戲曲電影 影業(yè)公司 互動(dòng)關(guān)系　出處：《山西師范大學(xué)》2012年碩士論文　論文類型：學(xué)位論文

【摘要】：本文以互動(dòng)為切入點(diǎn)，力圖對(duì)1896年到1949年間戲曲與電影的關(guān)系進(jìn)行研究。自中國電影誕生之日起，戲曲與電影之間就展現(xiàn)了交叉與融合的復(fù)雜關(guān)系。戲曲推動(dòng)了電影最初的成長，而電影也在繁盛之時(shí)提攜了戲曲在多媒介共生的市場環(huán)境下的復(fù)興。整個(gè)過程中包含了電影導(dǎo)演的藝術(shù)嘗試、表演藝術(shù)家的自覺探索和影片制作公司的商業(yè)抉擇，，而正是由這三個(gè)方面的博弈才成就戲曲電影的藝術(shù)特色和繁榮勃興。 在緒論部分主要是依照戲曲電影內(nèi)在的發(fā)展脈絡(luò)及外在政治、經(jīng)濟(jì)、文化的影響對(duì)戲曲電影的研究現(xiàn)狀進(jìn)行了梳理。 第一章把戲曲與電影的互動(dòng)放置在當(dāng)時(shí)的政治、文化、經(jīng)濟(jì)背景之下，運(yùn)用心理學(xué)、電影學(xué)、經(jīng)濟(jì)學(xué)等學(xué)科的理論成果來分析戲曲電影誕生的文化、政治、經(jīng)濟(jì)背景。鴉片戰(zhàn)爭之后伴隨著西方資本主義國家文化侵略的過程，馬戲、賽狗、電影、戲劇等西方娛樂形式傳入中國，對(duì)戲曲電影帶來了諸如娛樂觀念、接受方式等方面的前期培育。 第二章鑒于西方電影首先傳入上海，而中國電影卻誕生于北京的事實(shí)，分析了北京的政治、經(jīng)濟(jì)、文化中心城的地位和影響力，對(duì)于京劇融合徽戲、漢劇、秦腔而成為國劇的歷程進(jìn)行了簡要介紹。這一章重點(diǎn)分析了戲曲改良運(yùn)動(dòng)對(duì)戲曲與電影關(guān)系的影響。 第三章分別選取豐泰照相館、商務(wù)印書館活動(dòng)影戲部、民華電影公司、新華電影公司、吳性栽投資的電影公司，來分析他們拍攝戲曲電影的原因和動(dòng)機(jī)，以及拍攝過程中對(duì)于戲曲和電影融合的探索和思考。 第四章選取戲曲藝術(shù)家梅蘭芳的戲曲電影創(chuàng)作歷程，分別從新劇的影響和藝術(shù)家的文化自覺兩方面來論述他的電影創(chuàng)作活動(dòng)。
[Abstract]:This paper tries to study the relationship between operas and movies from 1896 to 1949, starting from the date of the birth of Chinese films. There is a complex relationship between drama and film that intersects and merges. Opera promotes the initial growth of the film. The movie also carried the revival of drama in the multi-media symbiotic market environment at the time of prosperity. The whole process included the artistic attempt of the film director, the conscious exploration of the performing artist and the commercial choice of the film production company. And it is from these three aspects of the game to achieve the artistic characteristics of drama film and prosperity. In the introduction part, according to the internal development of drama film and external political, economic, cultural impact on the opera film research status. The first chapter puts the interaction between drama and film under the political, cultural and economic background of that time. Using the theoretical achievements of psychology, film science, economics and other disciplines to analyze the culture and politics of drama film birth. Economic background. After the Opium War, the process of cultural aggression by Western capitalist countries was accompanied by the introduction of western forms of entertainment, such as circus, dog racing, film and drama, into China, bringing such entertainment concepts to drama and movies. The early cultivation of the way of acceptance and so on. The second chapter analyzes the status and influence of Beijing's political, economic, and cultural center city, in view of the fact that western films were first introduced into Shanghai, while Chinese films were born in Beijing. This chapter focuses on the influence of the opera improvement movement on the relationship between opera and film. The third chapter selects the Fengtai Photo Gallery, the Commercial Press activity Film Department, the Minhua Film Company, the Xinhua Film Company, the Wu Xizai Investment Film Company to analyze the reasons and motives for their shooting the drama movies. And the process of shooting for opera and film integration exploration and thinking. Chapter 4th selects the drama artist Mei Lanfang's drama film creation process, respectively from the new drama influence and the artist's cultural consciousness two aspects to discuss his movie creation activity.
【學(xué)位授予單位】：山西師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：J909.2;J809.2

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本文編號(hào)：1546993