“默片”和“声片”孰高孰低?——略探早期中国电影的有声无声之争  

A Brief Analysis on the Battle Between the Early Chinese Silent Film and Sound Film

作　　者：吴迎君[1] 

机构地区：[1]广西大学文学院,广西南宁530004

出　　处：《广西师范学院学报（哲学社会科学版）》2015年第5期144-148,共5页Journal of Guangxi Teachers Education University：Philosophy and Social Sciences Edition

基　　金：教育部人文社科青年项目"电影美学的本土建构"(11YJC760087)

摘　　要：20世纪30年代,中国电影业开始有声电影的创作和生产,电影声音问题引起广泛而持久的讨论,由于种种原因形成的中国无声电影较长时间存在,推动了有声无声问题讨论的多方位和多层面。基于电影工业生产和基于电影本体思考的声音问题探讨,都无法归结于单一的肯定或否定,而万籁天等诸多批评者提出的富于启发性的电影观念,推进了中国电影美学的继承和创新。Chinese film industry began to enter the sound era in 1 930s,and since then,film sound has continuously been a wildly discussed topic.There are several causes contributed to the long exist-ence of silent film,which promoted a comprehensive discussion of sound film and silent film.It’s im-possible to make an entirely positive or negative judgment on either film regarding to the research of film sound based on the film industrial production and film itself.But there are some illuminating film concepts proposed by critics like Wan Laitian,which has boosted the inheritance and innovation of the Chinese film aesthetics.

关 键 词：有声电影 无声电影 默片 声片 电影声音 

分 类 号：J961[艺术—电影电视艺术]