“复线的历史观”与重写中国电影史  

“Bifurcated History” and Rewriting Chinese Film History

作　　者：檀秋文[1] Tan Qiuwen

机构地区：[1]中国电影艺术研究中心

出　　处：《电影艺术》2020年第2期149-154,共6页Film Art

摘　　要：美籍印度裔学者杜赞奇提出的"复线的历史观"的概念,可为重写中国电影史提供新的借鉴。因此,需要从历史观念的角度入手,重建中国电影史的书写体系,为民族国家电影史的写作注入新的内涵。在此基础上,本文辨析了当前中国电影研究中存在的四种范式,以期整合以往中国电影史书写中颇为棘手的"时间的断裂"和"空间的分割"的困境,实现从"复数的电影史"到"复线的电影史"的跨越,目的是寻找一种"多样性的统一"的重写电影史路径。The concept of "Bifurcated History" brought out by Prasenjit Duara can be a reference of rewriting Chinese film history. We should reconstruct the system of Chinese film history under this frame and add new connotation into the national film history. On the base of these, this article analyzes four paradigms existing in the current Chinese film research, in order to integrate the dilemma brought about by the knotty "time fracture" and "space division", and convert from "plural film history" to "Bifurcated History", with the purpose of finding a path of rewriting Chinese film history under the "unity of diversity".

关 键 词：复线的历史观 重写电影史 民族国家 

分 类 号：J909.2[艺术—电影电视艺术]