摘要
20世纪40年代末,在中国香港地区(以下简称香港)电影界出现的关于中国电影风格的讨论,是一场全方位的电影观念争鸣,不仅议题广泛,而且影响深远。以叶以群、司马文森等为代表的左派批评家,站在新民主主义文化的立场上,结合中国香港电影界的实际情况,呼吁建立中国电影风格,并对中国电影风格的内涵、特征及建设路径做出阐释。此外,批评家还论及戏曲片、民间题材影片及粤语片的民族风格问题。左派批评家多从电影风格出发,在形式与内容的对立中强调内容的重要性,进而提出艺术观念及创作者思想认识的问题。此次讨论对于当代中国电影民族风格的探索,以及中国文化主体性建构等,仍不乏借鉴意义。
In the late 1940s,the discussion on the style of Chinese cinema within the Hong Kong film community,was an all-encompassing debate about film concepts,concerning a wide range of issues,and exerting a far-reaching influence.Standing on the ground of New Democratic Culture,leftist critics such as Ye Yiqun and Sima Wensen,called for the construction of a national style of Chinese cinema,taking full account of the realities of the Hong Kong film industry.These critics articulated the connotations,characteristics,and pathways for its development.Moreover,they discussed the national style of Xiqu films,folk tale films,and Cantonese films.The leftist critics,writing primarily about cinematic style,emphasized the priority of content over form,thereby raising profound questions about artistic conceptions and the ideological stance of filmmakers.This debate continues to offer insights for the exploration of national style in contemporary Chinese cinema and the construction of Chinese cultural subjectivity.
出处
《戏剧(中央戏剧学院学报)》
北大核心
2025年第3期132-143,共12页
Drama:The Journal of the Central Academy of Drama
作者简介
苏涛,中国人民大学文学院副教授。
