纸上硝烟:《现代电影》发起的“软硬论战”  

Critics Wars: The Controversy between Soft Film Theory and Hard Film Theory Led by "Modern Screen"

作　　者：储双月[1] 

机构地区：[1]中国艺术研究院电影电视艺术研究所,副研究员电影学博士北京100029

出　　处：《浙江社会科学》2012年第12期126-131,163-164,共6页Zhejiang Social Sciences

摘　　要：作为"软性电影论者"进攻左翼电影理论的阵地,《现代电影》杂志长期遭受主流政治的压抑和遮蔽。今日重读《现代电影》,不仅能够让我们从另一角度来理解20世纪30年代"软硬论战"涉及的艺术与政治、内容与形式的关系问题,还可以捕捉当时的革命小资产阶级进步电影人转变的身影,乃至欣见闪烁其中的反帝政治、受众研究。As the front of 'soft film theory critics' which attacked left-wing film theory, 'Modern Screen' magazine suffered repression and shelter from mainstream politics for a long time. Today, rereading 'Modern Screen' can not only understand the art and politics, content and form of relational question involved in the 'controversy between soft film theory and hard film theory' in 1930s from another perspective, but also capture the revolutionary progressive petty bourgeoisie filmmakers' changes, and even happily see the anti-imperialist politics and audience researches.

关 键 词：软性电影 硬性电影 意识形态 大众化 摩登 

分 类 号：J909.2[艺术—电影电视艺术] G239.29[文化科学]