本土化、自主性与空间性——早期上海电影美学实践的三个面向  

Localization,Autonomy,and Spatiality:Three Orientations of the Aesthetic Practice in Early Shanghai Cinema

作　　者：王银辉[1] 赵瑞宇 WANG Yinhui;ZHAO Ruiyu(College of Literature,Henan University,Henan,Kaifeng 475001,China)

机构地区：[1]河南大学文学院,河南开封475001

出　　处：《上海大学学报（社会科学版）》2024年第6期60-71,共12页Journal of Shanghai University(Social Sciences Edition)

基　　金：国家社会科学基金重大项目(18ZDA275)。

摘　　要：早期上海电影的美学实践主要展现在其本土化策略的实施上。首先,电影技术东渡之后,早期上海电影人通过选材、制作和放映等方面进行了独特的形式探索和美学实践。整体的营构与美学旨趣充满了传统文化的气息。其次,在与西方影像中的“他者”表述进行的博弈中,早期上海导演群体自觉地担当起建构具有自主性形象的责任,并成功塑造了一系列新人形象,如农民、小市民及女性等。最后,从茶馆这样的混杂空间到专业性电影院的转换过程中,早期上海电影展现了那个特殊时期国家、社会与人民在文化、社会结构和心理状态等方面的特点。这构成了考察早期上海电影美学实践的三个面向:鲜明的本土化、自主性和空间性。The aesthetic practice of early Shanghai cinema was primarily manifested in its localization strategies.Firstly,after the introduction of film technology from the West,early Shanghai filmmakers engaged in unique formal explorations and aesthetic practice through material selection,production,and screening.The overall construction and aesthetic orientation were imbued with the essence of traditional culture.Secondly,in the contest with the portrayal of the“other”in Western imagery,the early Shanghai directors consciously assumed the responsibility of constructing autonomous images and successfully created a series of new representations,such as those of farmers,petty urbanites,and women.Lastly,during the transition from hybrid spaces like teahouses to specialized cinemas,the early Shanghai cinema reflected the characteristics of the nation,society,and people in terms of culture,social structure,and psychological state during that unique period.These aspects constitute the three dimensions for examining the aesthetic practice of early Shanghai cinema:distinct localization,autonomy,and spatiality.

关 键 词：早期上海电影 电影美学 本土化 自主性 空间性 

分 类 号：J901[艺术—电影电视艺术]