从戏迷到影迷——清末民初上海“女观众”群体的形成及历史意义  

From Drama Lovers to Moviegoers: The Formation and Historical Significance of the “Female Audience” Group in Shanghai during the Late Qing Dynasty and the Early Republic of China

作　　者：徐雅宁[1,2] Xu Yaning

机构地区：[1]西安外国语大学艺术学院 [2]西安外国语大学人文社会科学研究中心

出　　处：《上海文化》2019年第10期87-94,115,127,共10页Shanghai Culture

基　　金：教育部人文社会科学研究一般项目“清末和民国时期女性主义思潮与中国早期电影”（项目号：17YJA760064）的阶段性成果

摘　　要：清末民初时期的上海,文化消费不再是满足特权阶层享受的活动,而是被纳入现代商业运作系统中,成为普通大众日常生活的一部分。随着此时妇女解放思潮日益高涨,现代意义上的“女观众”群体开始生成,并呈现出一个从“戏迷”到“影迷”的流变过程。“女观众”群体的生成,不但打破了传统社会女性与文化消费的间隔,也有效扩大了女性的社交范围,更是她们参与社会交往、僭越性别界限和性别意识赋权的实践,可视为中国社会现代化转型的一次显影。In Shanghai during the late Qing Dynasty and the early republican period, cultural consumption was no longer an activity that satisfied the enjoyment of the privileged class, but was incorporated into the modern business operation system and became part of the daily life of the general public. With the increasing trend of women’s emancipation at this time, the "female audience" group in the modern sense began to generate and presented a process of change from "drama lovers" to "moviegoers". The formation of the "female audience" group not only breaks the gap between women and cultural consumption in traditional society, but also effectively expands the social scope of women. It can be regarded as an important part of the transformation of China’s social modernization.

关 键 词：女观众 清末民初 现代性 

分 类 号：I20[文学—中国文学]