战后中国电影中的“经济生活”——以《万家灯火》和“哀乐中年”三部曲为重点  

“Economic Life” in Post-War Chinese Movies——Focus on “Myriads of Lights” and the “Sorrows and Joys of the Middle Age” Trilogy

作　　者：裴亚莉[1] 聂晴 PEI Ya-li;NIE Qing(School of Chinese Language and Literature,Shaanxi Normal University,Xi’an 710119,Shaanxi)

机构地区：[1]陕西师范大学文学院,陕西西安710119

出　　处：《陕西师范大学学报（哲学社会科学版）》2023年第4期138-147,共10页Journal of Shaanxi Normal University(Philosophy and Social Sciences Edition)

基　　金：国家社会科学基金重大项目“数字媒介时代的文艺批评研究”(19ZDA270)。

摘　　要：中国电影史研究者将战后电影人分为社会派和人文派。在此划分基础上,不同的艺术家在对“经济因素”采取不同的表现方式时,体现了不同的艺术观念。从沈浮导演的《万家灯火》和桑弧导演的“哀乐中年”三部曲可见,丰富的经济因素以及在电影叙事中对这些因素的不同使用,与导演的艺术观之间存在紧密的关联。研究这一问题,会促进当代中国电影人思考如何在银幕上呈现经济生活与艺术表现之间的关系。Regarding film in Post-War era,different artists adopted different expression ways based on different artistic concepts.The article tries to analyze the different artistic expression methods in Myriads of Lights directed by Shen Fuand the“Sorrows and Joys of the Middle Age”Trilogy directed by Sang Hu,in order to obtain the relevance of the presentation about“economic life”on the screen to the artistic conceptions of directors.The relationship provides some important inspirations for contemporary filmmakers to give a good own narrative of the times,to shape the images of people living in a better life in the new era,and to express the“affinity to the people”characteristics in Chinese film narrative art better.

关 键 词：“经济生活” 电影史 艺术观念 电影评论 

分 类 号：J906[艺术—电影电视艺术]