【摘要】： 自1843年開埠以來,通過同西方資本主義國家的貿(mào)易往來,上海逐漸成為商業(yè)型消費(fèi)社會,文化娛樂產(chǎn)業(yè)隨著社會經(jīng)濟(jì)的繁榮而逐漸發(fā)展起來,文化消費(fèi)成為市民日常生活的重要組成部分。到20世紀(jì)30年代,上海的文化娛樂產(chǎn)業(yè)發(fā)展達(dá)到頂峰。作為文化娛樂市場的主體,具有近兩千年傳統(tǒng)優(yōu)勢的中國戲劇在與電影這種新興藝術(shù)形式的并行中,受到了極大的挑戰(zhàn),而電影在中國的生存與發(fā)展也處處烙上傳統(tǒng)戲劇的印記。本文就是以近代上海電影傳入之后同傳統(tǒng)戲劇業(yè)之間的關(guān)系為核心,通過二者既相互競爭,又相互借鑒的關(guān)系,探討近代上海文化娛樂產(chǎn)業(yè)的發(fā)展和變遷,以期對當(dāng)今日益衰落的戲劇業(yè)的發(fā)展有所借鑒。 本文共分為四個部分。第一部分為緒論,主要介紹了本文的選題緣由,回顧了國內(nèi)對于戲劇史和電影史的研究現(xiàn)狀并進(jìn)行了相關(guān)的分析,簡單梳理了研究思路和方法以及本文的重點(diǎn)、難點(diǎn)和創(chuàng)新點(diǎn)。 第二部分介紹近代上海的社會人文環(huán)境以及戲劇業(yè)和電影業(yè)的生存狀態(tài)。上海開埠之后,商業(yè)成為社會生活的核心,消費(fèi)型社會逐步形成,文化活動被納入到市場的軌道,有力推動了近代上海文化娛樂業(yè)的繁榮。上海在數(shù)年中就發(fā)展成為新興戲劇中心,而戲劇本身在新文化的沖擊,以及與外來劇種、新興文化娛樂方式的競爭之中,不斷的進(jìn)行改良,以應(yīng)對新的市場需要。而電影業(yè)自1896年傳入中國后,就以上海為基地發(fā)展壯大起來。從1896年到1937年的四十年間,近代上海電影業(yè)不斷發(fā)展壯大,尤其是20世紀(jì)30年代,上海的電影業(yè)發(fā)展到頂峰,這一時期上海電影業(yè)是整個中國電影業(yè)的代表。 第三部分通過分析戲劇業(yè)和電影業(yè)之間既相互競爭又相互融合的關(guān)系,表現(xiàn)戲劇業(yè)與電影業(yè)的互動及消長,探討近代上海文化市場形態(tài)的變遷。中國傳統(tǒng)戲劇與電影作為兩種不同的藝術(shù)門類,在近代文化市場的發(fā)展過程當(dāng)中,不斷向?qū)Ψ綄W(xué)習(xí)和借鑒,既產(chǎn)生了其二者聯(lián)姻的產(chǎn)物、中國特有的電影形式——戲曲電影,又各自找到了新的發(fā)展方向。而傳統(tǒng)戲劇與電影因同為文化娛樂市場的主體,其二者之間又不可避免的存在激烈的競爭,但是并沒有任何一方因?qū)Ψ降拇嬖诙ヂ?反而在競爭中共同成長起來。在戲劇業(yè)和電影業(yè)之間的互動中,近代上海文化市場的主體被確定下來,現(xiàn)代觀演方式逐步被觀眾所認(rèn)同,大眾文化消費(fèi)市場在近代傳媒的引導(dǎo)下蓬勃發(fā)展起來,構(gòu)筑起近代上海的文化消費(fèi)空間。 第四部分余論,對這一時期上海文化娛樂產(chǎn)業(yè)發(fā)展進(jìn)行評論。近代上海的傳統(tǒng)戲劇在新興藝術(shù)形式的沖擊之下,通過自身的改良來適應(yīng)市場的發(fā)展,進(jìn)行著艱難的回應(yīng)。而上海的文化消費(fèi)在當(dāng)時文化生態(tài)環(huán)境的變遷之下也出現(xiàn)了新的發(fā)展潮流。最后探討了傳統(tǒng)戲曲在與新興的電影的并行中并沒有走向衰落,而是與電影同臺競爭,分庭抗禮的根本原因,為當(dāng)今傳統(tǒng)戲劇行業(yè)的發(fā)展提供參考。
[Abstract]:Since its opening in 1843, Shanghai has gradually become a commercial consumer society through trade with western capitalist countries. With the prosperity of social economy, cultural and entertainment industries have gradually developed, and cultural consumption has become an important part of the daily life of citizens. By the 1930s, the development of Shanghai's cultural and entertainment industry has reached its peak. Feng. As the main body of the cultural and entertainment market, Chinese drama with nearly two thousand years of traditional advantages has been greatly challenged in parallel with film, a new art form, and the survival and development of film in China is also branded with the imprint of traditional drama. This article is between the modern Shanghai film and the traditional drama industry after its introduction. With the relationship as the core, this paper discusses the development and changes of Shanghai's cultural and entertainment industry in modern times through the relationship between competition and reference, with a view to drawing lessons from the declining drama industry.
This paper is divided into four parts. The first part is the introduction, which mainly introduces the reasons for the topic selection, reviews the research status of drama history and film history in China and makes relevant analysis.
The second part introduces the social and cultural environment of modern Shanghai and the living conditions of theatre and film industry.After the opening of the port of Shanghai, commerce has become the core of social life, a consumer society has gradually taken shape, and cultural activities have been brought into the orbit of the market, which has greatly promoted the prosperity of modern Shanghai's cultural and entertainment industry. As the center of the new drama, the drama itself has been constantly improved to meet the needs of the new market under the impact of the new culture, as well as the competition with foreign drama and new cultural entertainment. The film industry continues to grow, especially in the 1930s, when Shanghai's film industry reached its peak. During this period, Shanghai's film industry was the representative of the entire Chinese film industry.
The third part analyzes the relationship between the theatre industry and the film industry, which is both competitive and integrated with each other, to show the interaction and growth of the theatre industry and the film industry, and to explore the changes of the cultural market in modern Shanghai. Fang learns and draws lessons from them, which not only produces the product of their marriage, but also finds a new direction of development for the Chinese unique film form-drama film. Because both traditional drama and film are the main body of the cultural and entertainment market, there is inevitable fierce competition between them, but no one can survive because of the other side. In the interaction between the theatre industry and the film industry, the main body of the modern Shanghai cultural market has been identified, the modern way of viewing and acting has gradually been recognized by the audience, and the mass cultural consumer market has flourished under the guidance of the modern media to construct the modern Shanghai cultural consumption space.
In the fourth part, the author makes a comment on the development of Shanghai's cultural and entertainment industry in this period. Under the impact of the new art form, the traditional drama in modern Shanghai adapted itself to the development of the market through its own improvement, and made a difficult response. Finally, the paper discusses the basic reasons why traditional opera has not declined in the process of concurrence with new films, but has competed with the same stage and fought courtesy in court, which provides a reference for the development of traditional drama industry.
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2009
【分類號】：J809.2;J909.2

【引證文獻(xiàn)】

相關(guān)博士學(xué)位論文 前1條

1 楊子;家園的蹤跡：全球化上海的劇場與藝術(shù)空間初探[D];華東師范大學(xué);2011年

相關(guān)碩士學(xué)位論文 前1條

1 曹晉彰;演藝產(chǎn)業(yè)鏈的構(gòu)建研究[D];山東大學(xué);2012年

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本文編號：2238506