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鴛鴦蝴蝶派與早期中國電影的本土化接受
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國家社會科學基金后期資助項目:江蘇藝術家與早期中國電影發展研究(14FYS003);江蘇省教育廳人文社會科學規劃項目:周瘦鵑生活審美藝術研究(2019SJA1252)


Mandarin Duck and Butterfly School and the Localization Acceptance of Early Chinese Films
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    摘要:

    鴛鴦蝴蝶派用小說化的藝術修辭手法書寫電影人的尋常家事,通過制造心理共鳴和情感共振,為市民最終接受電影這一新的“媒介物種”鋪平了道路。他們以電影人的悲歡離合為素材創作了不少小說,使公眾熟悉了電影人物與各種電影空間,加深了觀眾和電影的情感聯系。他們的電影評論從傳統戲劇和文學藝術中吸取養分,是早期中國影戲理論的重要組成部分,既起到了啟蒙教育觀眾的作用,也為中國電影本土化架構了理論基石。他們以報刊為載體,以評論、雜記為渠道,用合乎中國人審美心理的方式將電影引入人們熟悉的日常生活中,將電影這一冷冰冰的技術物件與公眾可感知、可理解的身邊事物、生活經歷、社會交往融合起來,推動了早期中國電影的本土化。

    Abstract:

    The mandarin duck butterfly school used fictional artistic rhetoric to write the ordinary family affairs of filmmakers. By creating psychological resonance and emotional resonance, it paved the way for the citizens to finally accept the film as a new "media species". They incorporated the film as the material and background into the novel, described the fictional story of the joy, anger and joys of the filmmaker, made the public familiar with the film characters and various film spaces,and deepened the emotional connection between the audience and the film. Their film reviews absorbed nutrients from traditional drama, literature and art,and formed an integral part of the early Chinese film theory. They not only played a role in enlightening the audience, but also built a theoretical foundation for the localization of Chinese films. They took newspapers and magazines as the carrier, comments and essays as the channel,and introduced films into people's familiar daily life in a way consistent with the aesthetic psychology of Chinese people. They integrated the cold technical object of films with the things around the public that can be perceived and understood, life experience and social interaction, and promoted the localization of early Chinese films.

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李斌.鴛鴦蝴蝶派與早期中國電影的本土化接受[J].重慶郵電大學學報(社會科學版),2020,32(4):124-129

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  • 收稿日期:2020-02-22
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  • 在線發布日期: 2020-08-08

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