“电光影戏”的变迁与超越——“国片复兴”运动与中国电影公共领域的萌芽和发展  

The Transformation of “Electric Shadow” and Beyond the Revival Movement of National Films and the Birth and Development of a Public Sphere in Chinese Film

作　　者：刘君[1] 

机构地区：[1]哥本哈根大学媒介,认知与传播系

出　　处：《浙江传媒学院学报》2015年第3期33-39,149,共7页Journal of Zhejiang University of Media & Communications

摘　　要：文章描绘了20世纪二三十年代中国民族电影向公共领域的萌芽与成长图景。尽管电影技术是以商业营利和娱乐大众的面孔自西方引入中国,但20世纪20年代的民族电影业发展,包括早期一批宣扬封建道德观念的影片的"爆红",让国民政府与社会人士都看到了电影远胜于其他载体的传播功能。这成为社会各方面力量逐步介入电影,并对电影实施渗透、参与和控制的基础。在这种情况下,罗明佑的从影实践以及"国片复兴"运动将电影剥离强势的商业话语势力和根深蒂固的封建教化传统,建构其作为社会公共领域的萌芽形态。由此,中国电影逐渐跨越商业资本话语,不断地介入公共事务,持续地制造公共舆论,孕育出它作为公共领域的特征与功能。This study investigates the birth and development of a public sphere in Chinese national filmsbetween 1920 s and 1930 s. The introduction of film technologies into China was closely associated with commerce and entertainment. However,both the government and social actors gradually recognized the communicative function of film beyond other media. Multiple social forces started to engage in film production and dissemination and to compete with each other in order to utilize film communication for their own purposes. Again this backdrop,Luo Mingyou's engagement in the film industry and the revival movement of national films cultivated film as a public sphere by separating it from the commercial discourse and feudal moral codes. Thereafter,Chinese film increasingly engaged into public events,generate public opinion,and facilitated the characteristics of a public sphere.

关 键 词：中国民族电影 公共领域 “国片复兴”运动 罗明佑 商业话语 

分 类 号：J909.2[艺术—电影电视艺术]