唐纳及其左翼电影文论探析  

An Analysis of Tang Na and His Left Wing Film Literary Theory

作　　者：黄望莉 王鹏超 Huang Wangli;Wang Pengchao

机构地区：[1]上海大学上海电影学院

出　　处：《电影艺术》2021年第3期145-152,共8页Film Art

基　　金：2020年度国家社科基金艺术学重点项目“中国抗战时期艺术文献整理和研究”(批准号:20AA001)阶段性成果。

摘　　要：唐纳在1933—1935年期间不仅活跃在"左翼"影评的争论中,同时也通过大量译介西方电影理论,促就了别具一格的左翼影评风格和深入浅出的电影理论研究,尤其引领并推进了现实主义批评模式。他的政治身份和社会关系网络使他成为为数不多穿梭于"影刊""片场"与"剧场"之间的左翼影评人。重新认识唐纳的电影理论、批评活动,进而探知涌现于20世纪30年代的左翼影评的全貌,在今天看来依然有重要的意义。Tang Na was not only active in the debate of "left-wing" film criticism during the period of 1933—1935, but also promoted the unique left-wing film criticism style and the study of film theory by translating a lot of western film theories, especially leading and promoting the mode of realistic criticism. His political identity and social network also make him one of the few left-wing film critics who shuttle between "film magazine", "studio" and "theater". It is still of great significance to rediscover Tang Na’s film theories and criticism activities, and then discover the panorama of left-wing film criticism that emerged in the 1930 s.

关 键 词：唐纳 左翼电影运动 左翼影评 电影理论研究 软硬之争 

分 类 号：J909.2[艺术—电影电视艺术] K26[历史地理—历史学]