新中国歌舞(歌剧)电影的“原则”问题  

Issues of“Principles”of Musical/Opera Films in New China

作　　者：聂欣如[1] NIE Xinru(School of Communication,East China Normal University,Shanghai 200241,China)

机构地区：[1]华东师范大学传播学院,上海200241

出　　处：《上海大学学报（社会科学版）》2024年第5期25-36,共12页Journal of Shanghai University(Social Sciences Edition)

基　　金：国家社会科学基金艺术学项目(22BC051)。

摘　　要：由《白毛女》开启的新中国歌舞电影提出了两个原则性的问题:一个是媒介问题。舞台与电影分属两种不同的媒介,在新中国电影的发展中,逐渐分化出了倾向于实景表现和倾向于舞台表现的两种不同风格的歌舞电影。另一个是观众的接受问题。歌剧电影演唱能够带来的参与感和情动,与叙事表达的思考性对立统一,为了吸引观众,叙事的传奇性需要与音乐兼容,形成具有类型化特征的电影作品。在新中国时期的创作意识形态环境中,只有少数作品能够做到兼容,大部分作品顾此失彼。The musical film genre in New China,starting with The White-Haired Girl,raised two fundamental issues.The first issue is about media.As stage and film belong to two different media,musical films gradually evolved into two distinct styles over the course of New China's film development:one inclined towards realistic depiction and the other towards stage representation.The second issue is about audience reception.Given the fact that the emotional engagement brought about by opera film singing is often in opposition to the contemplative nature of narrative expression,it is essential that the legendary nature of the narratives be compatible with the music to attract audiences,thus producing films with typified characteristics.However,in the ideological environment of the New China period,only a few works managed to achieve compatibility,while most failed to balance both aspects.

关 键 词：电影 舞台 歌舞电影 类型电影 

分 类 号：J911[艺术—电影电视艺术]