大轰炸时期重庆影业生态考察(1938—1943)  

The Study of Chongqing Film Industry Ecology During the “Big Bombing” Period(1938-1943)

作　　者：谭求健 田义贵[1] Tan Qiujian;Tian Yigui

机构地区：[1]西南大学文学院 [2]中共孝感市委党校

出　　处：《电影艺术》2023年第6期143-151,共9页Film Art

基　　金：国家社科基金艺术学项目“文化公平语境中的电影生态发展研究”(批准号:16BC038)阶段性成果;重庆市社科规划项目“电影生态评估与重庆电影产业发展路径研究”(批准号:2022NDYB175)阶段性成果。

摘　　要：“重庆大轰炸”以极端的方式彻底重塑了战时陪都的电影产业生态。制片方面,“中制”与“中电”在濒临停产的情况下及时转变制片方针,满足了抗战宣传的需要;发行方面,战时重庆地区的电影发行呈现出高度集约化的垄断局面;放映方面,形成了以冬春雾季为放映高峰期的季节性放映景观,放映市场也被迫淘换重组。战时重庆影业的反轰炸运动不仅有力地助推当地影业生态的复苏,同时也为中国抗日战争和世界反法西斯战争的胜利做出了不可磨灭的贡献。The “Chongqing Big Bombing” completely reshaped the film industry ecology of the wartime capital in an extreme way. In filmmaking,two film studios changed their production plan, in order to meet the propaganda needs during wartime. In film distribution, it showed a highly intensive monopoly situation in Chongqing during wartime. In film screening, a seasonal-screening phenomenon occurs during the winter-spring fog season, and the screening market was forced to restructure. The anti-bombing campaign of Chongqing film during wartime not only effectively promoted the recovery of Chongqing film industry, but also made indelible contributions to the victory of the Chinese People's War of Resistance against Japanese Aggression and the World Anti-Fascist War.

关 键 词：重庆大轰炸 战时重庆影业 反轰炸运动 轰炸视角 

分 类 号：J909.2[艺术—电影电视艺术] K265[历史地理—历史学]