中国早期电影文体观念探析——以“影戏论”为中心  

An Analysis of the Concept of Genre in Early Chinese Films:Centered on the “Theory of Film and Drama”

作　　者：黎万峡 陈旭光[2,3] Li Wanxia;Chen Xuguang(School of Liberal Arts,Nanjing University,Nanjing,Jiangsu,210023;School of Arts, Peking University;Institute of Film,Television and Theatre at Peking University,Beijing,100871)

机构地区：[1]南京大学文学院,江苏南京210023 [2]北京大学艺术学院 [3]北京大学影视戏剧研究中心,北京100871

出　　处：《民族艺术研究》2024年第3期14-22,共9页Ethnic Art Studies

基　　金：2018年度国家社科基金重大招标项目“中国现代电影文学资料发掘、整理与资源库建设”(项目批准号:18ZDA262);2024年度江苏省研究生科研创新计划项目“启蒙大众:‘社会问题电影’研究(1923-1949)”(项目编号:KYCX24_0059)的阶段性研究成果。

摘　　要：“电影文体”是研究中国早期电影的独特视角,它不仅主张对电影本体的回归,亦主张对电影艺术本质的透视。中国早期电影文体以虚构类和纪实类为主,主要是一种体裁层面的电影文体认识,其在奠定了中国电影文体雏形的同时又呈现出类型和文体、题材和体裁的概念混杂。以“影戏论”为中心深入探究中国早期电影文体观念,发现其既包含着在形式美学层面上对电影本体、艺术个性的探索,亦体现了将艺术与现实生活融会贯通的民族传统美学思想,可以帮助我们加深对作为“民族艺术”的中国早期电影的认识。“Film genre” is a unique perspective for the study of early Chinese cinema,which not only advocates the return of the film ontology,but also advocates the perspective of the essence of film art.Early Chinese film genres were mainly fictional and documentary,mainly a genre-level understanding of film genres,which laid the foundation of the embryonic Chinese film genres and,at the same time,showed the conceptual mixing of genres and styles,themes and genres.In-depth investigation centered on the “theory of film and drama”,the early concept of Chinese film genre not only contained the exploration of film ontology and artistic personality at the level of aesthetics of form,but also embodied the traditional national aesthetic thought of integrating art and real life,which can deepen the understanding of early Chinese film as a “national art”.

关 键 词：电影文体 早期电影 电影观念 影戏论 民族美学 

分 类 号：J901[艺术—电影电视艺术]