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作 者:侯凯[1] 朱清哲 Hou Kai;Zhu Qingzhe
机构地区:[1]福建师范大学传播学院,福建福州350007 [2]山东服装职业学院艺术与设计系,山东泰安271000
出 处:《南京师范大学文学院学报》2024年第4期155-165,共11页Journal of School of Chinese Language and Culture Nanjing Normal University
基 金:国家社科基金艺术学青年项目“中国影迷文化:产生、建构与演变”(编号:20CC167)。
摘 要:新中国成立之初,同属社会主义阵营的捷克斯洛伐克所出品的电影被引入中国,其数量之庞大,仅次于苏联。通过广泛而紧密的“电影周”的形式,捷克斯洛伐克电影得以批量来华上映,成为这一时期社会主义国家电影在中国传播的典型样板。同时捷克斯洛伐克电影凭借其对电影艺术性的关注,影响了中国喜剧片与木偶片的创作风格,为观众带来清新之风。此外,因为政策的相通,捷克斯洛伐克电影的放映为新中国提供了镜鉴参照,促成了思想的教化与政策的宣传,为巩固新生政权、推进社会主义建设发挥了重要作用。In the early years of New China,Czechoslovakia,also a country of the Socialist camp,produced more films into China than any other country except the Soviet Union.Through the extensive and close form of"Film Week",Czechoslovak films were screened in China in batches,which became a typical model for the spread of films from socialist countries in China during this period.At the same time,Czechoslovak films influenced the creation style of Chinese comedies and puppet films with their attention to film artistry,which brought fresh wind to the audience.In addition,because of the interlinked policies,the screening of Czechoslovak films provided a mirror reference for New China,promoted the ideological enlightenment and policy propaganda,and played an important role in consolidating the new government and promoting the socialist construc-tion.
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