左翼批评的衍生与重建:论《大公报》(香港版)的电影批评(1948—1952)  

The Derivation and Reconstruction of Leftist Criticism:On Film Criticism in Ta Kung Pao(Hong Kong Edition)(1948-1952)

作　　者：苏涛[1] Su Tao

机构地区：[1]中国人民大学文学院

出　　处：《戏剧（中央戏剧学院学报）》2022年第1期162-171,共10页Drama:The Journal of the Central Academy of Drama

基　　金：中国人民大学科学研究基金(中央高校基本科研业务费专项资金资助)项目“‘冷战’与华语电影的历史叙述:以香港为中心”(项目编号:18XNI005)的阶段性成果。

摘　　要：20世纪40年代末至50年代初,夏衍、瞿白音、司马文森等左派批评家,通过《大公报》(香港版)等舆论阵地,以电影批评的方式争取人心、引导舆论、影响创作,扩大了香港电影界的进步力量,在新中国的海外宣传及统战中发挥了积极作用。在批评实践中,左派批评家以影片是否站在人民立场、是否真实反映现实等作为主要标准,并针对不同批评对象采用不同的批评方式。但是,左派电影批评重思想内容、轻形式技巧的倾向,以及直接服务于现实政治的策略,也存在一定的局限性。From the late 1940 s to the early 1950 s, leftist critics including Xia Yan, Qu Baiyin,Sima Wensen won public support, guided public opinions, and influenced screenwriting with their film criticism spread through such arenas of public debate as Ta Kung Pao(Hong Kong Edition). Such criticism also expanded the progressive forces in Hong Kong film industry and played an active role in the oversea publicity of China as well as in the United Front. In critical practice, leftist critics have used varied approaches on respective critical objects. The main criteria used include whether the films stand for the people, and whether they truly reflect the reality.Nevertheless, leftist film criticism has certain limitations in both its tendency to value content and thoughts above form and techniques, and its strategy that directly serves political goals.

关 键 词：左翼文化 电影批评 《大公报》(香港版) 香港电影 

分 类 号：J90[艺术—电影电视艺术]