抗战电影的主流形态及港式表达——兼析《孤岛天堂》(1939)  

The Mainstream Form and the Hong Kong Style of Expression of Chinese Films of the War of Resistance against Japan——A Case Study of Orphan Island Paradise(1939)

作　　者：袁庆丰[1] YUAN Qing-feng(College of Cultural Industries 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,北京100024

出　　处：《韩山师范学院学报》2021年第4期76-84,共9页Journal of Hanshan Normal University

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”(项目编号:16YTB021)。

摘　　要：1937年全面抗战爆发后,战前以启蒙民众、宣扬抗日救亡为己任的国防电影,成为不受限制地正面表现中国军民英勇悲壮的反法西斯战争的抗战电影,并成为抗战文艺的重要组成部分。由于地缘政治和文化生态的不同,1940年之前的抗战初期,内地出品的抗战电影更多地是展现中国军民正面战场上的奋勇抗击和流血牺牲;就现存的、公众可以看到的文本而言,香港的抗战电影侧重表现热血青年投身游击战和刺杀汉奸特务的爱国行为。由于有官方中国电影制片厂投资背景,《孤岛天堂》体现出在内地主流电影主导和文化辐射下的香港电影本土化制作特征。After the full outbreak of the War of Resistance against Japan in 1937,the nationaldefense films,which aimed to enlighten the people and promote anti-Japanese salvation before thewar,became the anti-fascist films that showed the heroic and tragic anti-fascist war of the Chinesearmy and people,and an important part of the literature and art of the War of Resistance against Ja-pan.Due to the differences in geopolitics and cultural ecology,in the early days of the War of Re-sistance before 1940,the films of the War of Resistance produced in China's Mainland mostly showedthe brave resistance and bloody sacrifice on the front battlefield of the Chinese army and people;asfar as the existing films that people can see,Hong Kong films of the War of Resistance focused onthe patriotic acts of the young people who devoted themselves to guerrilla warfare and assassinatingtraitors and spies.Because of the investment from the official Chinese film studio,the Orphan Island Paradise embodies the characteristics of localized production impacted by the leading role of main-stream films and cultural radiation from the mainland.

关 键 词：《孤岛天堂》 国防电影 抗战电影 文化辐射 香港抗战电影 

分 类 号：J905[艺术—电影电视艺术]