论中国左翼电影中的女性婚恋观(1932−1937)  

Views of Women on Marriage and Love in Chinese Left⁃Wing Films(1932−1937)

作　　者：高心怡 殷昭玖[1] GAO Xinyi;YIN Zhaojiu(College of Media,Shandong University of Arts,Jinan 250300,China)

机构地区：[1]山东艺术学院传媒学院,山东济南250300

出　　处：《中北大学学报（社会科学版）》2024年第5期124-129,共6页Journal of North University of China：Social Science Edition

摘　　要：20世纪30年代的左翼电影运动,以现实主义的创作在时代的诉求中掀起了中国电影发展的革新运动,改变了中国电影业的总体面貌。本文回溯历史,选取1932年−1937年的部分左翼电影作品,依托其中不同的女性镜像,旨在探析传统社会女性不平等婚恋状况的根源、其主体意识觉醒下的新婚恋观的萌生以及在革命意识形态询唤下轻爱情重革命的感召形象,以此发掘左翼电影运动及电影文本的现实美学意义与时代蕴涵。The 1930s left-wing film movement,known for its realistic portrayal,initiated a wave of innovation in Chinese cinema,fundamentally transforming the film industry.This article examines female characters in left-wing films from 1932 to 1937,analyzing the roots of gender inequality in traditional soci⁃ety,the emergence of women’s new perspectives on love and marriage with their awakened consciousness,and the portrayal of revolutionary ideology prioritizing devotion to the revolution over romantic sentiments.By doing so,this article uncovers the aesthetic significance and contemporary implications embedded within the left-wing film movement and its films.

关 键 词：左翼电影运动 女性婚恋观 电影文本 

分 类 号：J905[艺术—电影电视艺术]