中外比较视野下20世纪中国电影民族化进程的三个阶段  

On the Three Stages of the Nationalization of Chinese Films in the 20^(th) Century from the Comparative Perspective of China and Foreign Countries

作　　者：潘汝 PAN Ru(Shanghai Theatre Academy,Shanghai,200040)

机构地区：[1]上海戏剧学院,上海200040

出　　处：《艺术百家》2025年第1期126-134,共9页Hundred Schools In Arts

摘　　要：纵观20世纪中国电影,其民族化进程大致可以划分为三个阶段。第一阶段为中国电影诞生之初至20世纪20年代末,原生民族主义是这一时期中国电影民族化的主要特点:中国电影倚重古典戏曲,从本民族“共享的历史记忆库”中调集资源,将特定文化事象整体搬上银幕。第二阶段为20世纪30年代初至70年代末,在民族救亡及建设新中国的热潮中,现代意义上的国家民族主义成为主流,“左翼”电影及其余脉成为民族化内涵的主要载体。第三阶段为20世纪80年代初以来,中国电影民族化探索更为多元化,在“寻根”的背景下,中国电影深度探索了本民族文化基因,并在与西方文化的互文关系中,深入文化的内在机理,反思与重构了本民族文化。Throughout the 20^(th) century Chinese film industry,the process of nationalization can be roughly divided into three stages.The first stage was from the birth of Chinese films to the end of the 1920s,during which native national-ism was the main feature of the nationalization of Chinese films:Chinese films relied heavily on classical opera,mobi-lized resources from"the shared historical memory of the nation",and presented specific cultural events on the screen.In the second stage,from the early 1930s to the late 1970s,in the upsurge of national salvation and construc-tion of New China,national nationalism in the modern sense became the mainstream,and"left-wing"movies and their aftereffects became the main carrier of this nationalization connotation.In the third stage,since the 198Os,the explora-tion of Chinese film nationalization has become more diversified.Under the background of"searching for roots",the film has carried out an in-depth exploration of the national cultural gene,and in the intertextual relationship with Western culture,it has gone deep into the internal texture of the culture,reflecting on and reconstructing the national culture.

关 键 词：中国电影 原生民族主义 国家民族主义 民族文化基因 

分 类 号：J90[艺术—电影电视艺术]