二十世纪二三十年代中国电影的海洋书写  

Ocean Writing of Chinese Films in the 1920s and 1930s

作　　者：谭泽海 TAN Zehai(School of Literature,Hainan Normal University,Haikou 570100,China)

机构地区：[1]海南师范大学文学院,海口570100

出　　处：《鲁东大学学报（哲学社会科学版）》2023年第6期8-14,共7页Ludong University Journal:Philosophy and Social Sciences Edition

基　　金：国家社会科学基金重点项目“多卷本《中国抗战文学史》”(21AZW018)。

摘　　要：早在20世纪20、30年代,中国电影的海洋书写就迎来了突破。这一突破不仅影响了现代电影的创作与生产,也体现了当时电影界进步的美学观念。20世纪20、30年代中国电影的海洋书写集中地体现在海洋意象、海洋电影音乐以及海洋叙事风格三方面。海洋意象融入了女性形象的内在情感中,参与了女性形象的建构。海洋音乐对电影叙事的多重表达,突出地体现在《渔光曲》中,通过电影声画的同步结合,形成了作为海洋电影的独特审美特征与艺术特性。在叙事风格层面,海洋电影也从20世纪20年代的浪漫主义,向30年代与社会、时代紧密结合的现实主义风格转化。As early as the 1920s and 1930s,the ocean writing of Chinese films ushered in a breakthrough,which not only affected the creation and production of modern films,but also reflected the progressive aesthetic concept of the film industry at that time.The ocean writing of Chinese films in the 1920s and 1930s was mainly reflected in three aspects:ocean image,ocean film music,and ocean narrative style.The ocean image is integrated into the inner emotion of the female image and participates in the construction of the female image.The multiple expression of ocean music for the film narrative is prominently reflected in Song of the Fishermen.Through the simultaneous combination of film sound and painting,the unique aesthetic and artistic characteristics of the ocean film are formed.At the level of narrative style,ocean films also change from romanticism in the 1920s to realism in the 1930s,which is closely combined with the society and times.

关 键 词：海洋电影 海洋意象 《渔光曲》 海洋叙事 

分 类 号：I206.7[文学—中国文学]