中国早期电影与儒家的感觉结构  

Early Chinese Movies and Sensory Structure of Confucianism

作　　者：丁亚平 王婷[3] Ding Yaping;Wang Ting

机构地区：[1]北京电影学院,北京100088 [2]中国高校影视学会 [3]西北大学文学院,陕西西安710127

出　　处：《复印报刊资料（影视艺术）》2022年第9期78-87,共10页MOVIE AND TELEVISION ART

基　　金：国家社科基金艺术学重大项目“中国艺术文化传统在当代中国电影中的价值传承与创新发展研究”(20ZD18)阶段性成果。

摘　　要：被赋予了主体性的感觉结构,体现为一种现在时态的在场。中国早期电影“情”满四溢,电影创作中的无意识性呈现出儒家的感觉结构的内在张力。从《古井重波记》《玉梨魂》到《银汉双星》《啼笑因缘》,再到《小城之春》,情教观的影响无处不在。儒家的感觉结构随着社会观念和大众情绪的变化也在发生着改变。从中国早期电影创作不难看到隐形的情教观念的贯穿痕迹,这一儒家的感觉结构并非静止不变或面对现代性的冲击毫无招架之力,而是在历史的经验中不断溶解,进而变换为新的姿态。The sensory structure endowed with subjectivity is embodied in the presence of a present tense.There is a strong sense of sentiment emanating from early Chinese movies and the unconsciousness in movie making presents an internal tension of the Confucian sensory structure.The influence of the“religion of sentiment”can be seen in movies such as The Widow Wants to Remarry(1923),The Death of Yuli(1924),Two Stars(1931),Between Tears and Laughter(1932),and Spring in a Small Town(1948).The Confucian sense structure is also changing with changes in social concepts and public sentiment.It is not difficult to see the invisible traces of“religion of sentiment”in early Chinese movie making.The Confucian sensory structure is not static or vulnerable in the face of the impact of modernity,but is constantly dissolving in the experience of history and then transforming into a new attitude.

关 键 词：中国早期电影 情教观 儒家 感觉结构 复数形式 延宕 

分 类 号：J905[艺术—电影电视艺术] B222[哲学宗教—中国哲学]