周剑云的“影戏”观念与中国电影伦理  

Zhou Jianyun's 'Shadow-Play' Concept and Chinese Film Ethics

作　　者：马恩扉页 MA Enfeiye

机构地区：[1]西南大学新闻传媒学院

出　　处：《电影理论研究(中英文)》2025年第1期66-77,共12页Journal of Film Studies

基　　金：国家社会科学基金艺术学项目“新时代乡村电影的道德审视与伦理重建”的阶段性成果(23EC212);重庆市教委人文社会科学研究项目“21世纪中国乡村电影的文化表达与伦理美学研究”的阶段性成果(24SKGH394)。

摘　　要：周剑云作为中国早期电影事业的开拓者,具有不容忽视的重要研究意义。由“戏”入“影”的经历,造就了他“戏影并重”的态度,电影理论家、事业家、教育家等诸多身份,则组接出周剑云追求“真善美”的“影戏”观念,而这种观念的生成又与中国伦理传统以及当时的电影民族化浪潮密切相关。本文对周剑云的“影戏”观念进行归理,对当前中国本土化、民族化的电影理论建设进行理路回溯,以期为中国电影伦理的研究找到传承的历史脉络和理论依据。Zhou Jianyun,as a pioneer of early Chinese film industry,holds significant research value that cannot be overlooked.His transition from 'drama' to film' shaped his attitude of 'equal emphasis on drama and film'.His multifaceted roles as a film theorist,entrepreneur,educator and more contributed to the development of his 'shadowplay' concept,which pursued 'truth, goodness and beauty'.The concept was deeply connected to the Chinese ethical tradition and the wave of film nationalization during that era.By analyzing Zhou's 'shadow-play' concept and reflecting on the current process of Chinese film theory's localization and nationalization,this article aims to uncover the historical context and theoretical basis for the study of Chinese film ethics.

关 键 词：周剑云 中国电影伦理 影以载道 道以驭技 技以传影 

分 类 号：J90[艺术—电影电视艺术]