抗战电影：左翼电影与国防电影的形态延续——以《塞上风云》（1940～1942）为例  

Anti-Japanese War Movies:Continuation of Left-wing Movies and National Defense Movies——Take Fight at the Fort(1940-1942) as an Example

作　　者：袁庆丰[1] YUAN Qing-feng(School of Cultural Industry Management,Communication University of China,Beijing,100024)

机构地区：[1]中国传媒大学文化产业管理学院

出　　处：《山西大同大学学报（社会科学版）》2019年第6期66-71,共6页Journal of Shanxi Datong University(Social Science Edition)

基　　金：北京市社会科学研究项目“1936~1945年中国国防电影与抗战电影研究”（16YTB021）

摘　　要：从历史源流上看,抗战电影就是抗战全面爆发前的国防电影,而国防电影又是1930年代左翼电影的升级换代版。中国电影制片厂1940年摄制、1942年上映的《塞上风云》,既是抗战全面爆发后官方电影制片厂出品的抗战电影之一,也是第一部以蒙汉两族人民团结抗日为主题和题材的抗战电影。鲜明的北方少数民族特色和区域特殊性既是影片的新特点,同时,又与左翼电影、国防电影中以汉民族为主体,以华北、东北和江南为主的地域特征相区别。在结构、模式和基本元素等方面,抗战电影完全建立在战前左翼电影和国防电影形态的承接借用基础之上。From the historical perspective,the Anti-Japanese war movies are the national defense movies before the outbreak of the Anti-Japanese war,and the national defense movies are the upgraded version of the left-wing movies in the 1930 s. Fight at the Fort produced by Chinese Film Studio in 1940 and released in 1942 is not only one of the Anti-Japanese films manufactured by the state-owned film studios after the outbreak of the Anti-Japanese War,but also the first Anti-Japanese film with the theme of unity between the Mongolian and Han peoples. The distinctive characteristics of the Mongolian and regional particularities are not only the new features of the films,but also prove that the Anti-Japanese war films are based on the inheriting and borrowing of the left-wing films and national defense films in terms of structure,mode and basic elements.

关 键 词：全面抗战爆发 《塞上风云》 抗战电影 国防电影 左翼电影 

分 类 号：I972.6[文学] I971.4