晚清民初“辱华电影”的视觉表征与话语冲突(1897—1927)  

Visual Representation and Discourse Conflict of“humiliating Chinese films”in the Late Qing Dynasty and the Early Republic of China (1897- 1927)

作　　者：陈希洋 Chen Xiyang

机构地区：[1]西北大学文学院

出　　处：《媒介批评》2024年第1期150-167,共18页Media Criticism

摘　　要：1897—1927年间,“辱华电影”在中国的传播,伴随着中西双方“看”与“被看”现代性视觉力量的对抗与博弈,和中国电影自我表述的无力,呈现为对“辱华电影”指认后,话语评论场域里接受与抵制的混杂并存。一方面,客观存在的侮辱影像随着西方影片的输入而不断泛滥;另一方面,输入后在地反馈的思想论域表征为混乱和矛盾。商业话语的营利目的暗合着西方影片的意识形态和文化观念,知识分子内部亦存在着有意识自觉抵制“辱华电影”的民族话语,以及响应商业话语鼓吹电影艺术摄制本体内容的重要性,从而漠视甚至反对“辱华”指认的评论话语。转型时期的“辱华电影”领域,始终未能形成统一的话语共识,而是未受引导状态下多元话语的冲突并存。From 1897 to 1927,the spread of“humiliating Chinese films”in China was accompanied by the confrontation and game between the“seeing”and“being seen”、visual forces of modernity in both China and the West,and the inability of Chinese films to express themselves,which showed the coexistence of acceptance and resistance in the field of discourse criticism.after the identification of“humiliating Chinese films”.On the one hand,the insulting images of objective existence are flooding with the input of western films.On the other hand,the field of thought feedback after input is characterized by confusion and contradiction.The profit-making purpose of commercial discourse is implicitly in line with the ideology and cultural concepts of western films,and there are also national discourses among intellectuals that consciously and consciously resist“humiliating Chinese films”and advocate the importance of film art production in response to commercial discourses,thus ignoring or even opposing the critical discourses that identify“insulting China”.The“humiliating Chinese films”in the transition period have never been able to form a unified discourse consensus,but the conflict and coexistence of multiple discourses without guidance.

关 键 词：“辱华电影” 晚清民初 话语 电影批评 视觉性 

分 类 号：J909.2[艺术—电影电视艺术] K25[历史地理—历史学]