全民抗战时期电影的主流表述与社会影响——以1937~1945年粤港国防电影为例  

The Mainstream Expression and Social Influence of Movies during the National Anti-Japanese War—Taking the 1937~1945 Guangdong and Hong Kong National Defense Film as an Example

作　　者：杨婕 张雨瑄 

机构地区：[1]华南农业大学艺术学院,广东 广州

出　　处：《艺术研究快报》2023年第4期382-387,共6页Art Research Letters

摘　　要：1936年上海电影救国会成立,第一次提出“国防电影”的口号,标志着国防电影的开始,香港受上海影响也开始国防电影创作,其中不乏兼具粤港共同文化的粤语国防电影。1937年,全面抗战爆发后,香港成为故事片创作核心地。电影人南下,这推动第二次国防电影讨论,受其影响,在多地文化交流中,港地国防电影呈现三种主流形态,分别是以军民为主体进行正面战争描述的直接电影、以爱国青年为后方主力进行地下斗争的革命电影、以及具有神怪武侠等流行元素的爱国电影。在三种主流表述下的国防电影具有广泛的社会影响,不仅推动了国内抗战运动,而且通过影像连结华人华侨的爱国意识,起到呼吁全民抗战的宣传作用。In 1936, the Shanghai Film Salvation Association was established, and the slogan “National Defense Film” was first proposed, marking the beginning of national defense films. Hong Kong, influenced by Shanghai, also began to create national defense films, including many Cantonese defense films that embody the common culture of Guangdong and Hong Kong. In 1937, after the outbreak of the Com-prehensive Anti Japanese War, Hong Kong became the core location for feature film creation. The filmmaker went south, which promoted the second national defense film discussion. Influenced by it, in the cultural exchange between multiple regions, Hong Kong’s national defense films presented three mainstream forms: direct films with military and civilian as the main body for describing pos-itive wars, revolutionary films with patriotic youth as the main force behind the scenes for under-ground struggles, and patriotic films with popular elements such as gods, monsters, and martial arts. Under the three mainstream expressions, national defense films have a wide social impact, not only promoting the domestic anti Japanese war movement, but also connecting the patriotic con-sciousness of Chinese and overseas Chinese through images, playing a propaganda role in calling for the nationwide anti Japanese war.

关 键 词：粤港国防电影 全民抗战时期 主流表述 社会影响 

分 类 号：J90[艺术—电影电视艺术]