跨界与新生:基于越剧电影诞生始末的考察  

Crossover and Newborn:On the Beginning of Yue Opera Film

作　　者：许元[1,2] Xu Yuan

机构地区：[1]上海大学 [2]上海戏剧学院

出　　处：《电影艺术》2020年第2期143-148,共6页Film Art

摘　　要：越剧从地方小剧种发展成为有全国影响力的大剧种,只用了三四十年的时间,这正是源于越剧善于吸收、勇于创新的基因。相对于有几百年历史的昆曲和京戏而言,女子越剧是一个在西风东渐时代、在电影和话剧等现代美学元素影响下成型的年轻剧种。从越剧电影诞生前越剧的跨媒介思维、电影人对越剧与电影的探索,到早期越剧电影的传播与接受的描述与阐释,本文期许对这一段被人忽略的历史进行补遗的同时,从多重视角丰富早期民族电影的诞生景观。It took only 30 to 40 years for Yue Opera to develop from a small local opera to a large influential drama all over China. This is precisely because Yue Opera is good at absorbing and innovative. Compared with Kun Opera and Peking Opera, which has a history of several hundred years, the female Yue opera is a young drama which is shaped under the influence of western film culture and modern aesthetic elements such as films and dramas. The writing of this article begins with the doubts about the birth of Yue Opera films. From the cross-media thinking of Yue opera before the birth of Yue opera films, the exploration of Yue opera and film by early filmmakers, to the description and interpretation of the communication and acceptance of early Yue opera films, this paper hopes to supplement this neglected history and outline the birth landscape of early national films from multiple perspectives.

关 键 词：跨媒介 越剧电影 新文学 《祥林嫂》 传播 

分 类 号：J951.2[艺术—电影电视艺术]