摘要
本文以早期中国电影杂志先驱《影戏杂志》,以及1924年5月出版的《电影杂志》为研究对象,通过对其中的论述性文章以及杂志创办者的创刊理念等的细读剖析,梳理1920年代上半期“影戏观”的嬗变。从“影戏原质观”到“影戏真旨观”的影戏本体论的变迁,从“影戏智识论”到“影戏专业论”的影戏摄制论的变迁,从以西片为参照系的文学式的批评到以西方和历史为参照系的艺术式的批评的嬗变,从为电影正名到独立的体系化的电影观念的出现,20世纪20年代上半期的“影戏观”嬗变为中国电影理论批评的出场描绘了一条原生性、本土性理路。
This thesis takes the early Chinese film magazine pioneer Movie Magazine and the magazine Film Journal published in May 1924 as the research object.It sorts out the transmutation of“Yingxi concept”in the first half of 1920 s through close reading and analysis of the expository articles and the concept of the founders of the magazines.It concludes the change of the ontological theory of film from“the concept of film essence”to“the concept of true purport of film”,the change of film production theory from“film intellectual theory”to“film professional theory”,the change of criticism from the literary criticism based on western films to the artistic criticism taken the west and history for reference as well as from the justification of name of the film to the emergence of the independent systematic film concept.The transmutation of“Yingxi concept”in the first half of 1920 s represents an original and local research approach to the appearance of Chinese film theory criticism.
出处
《媒介批评》
2021年第1期302-316,共15页
Media Criticism
关键词
影戏杂志
电影杂志
影戏观
中国电影理论批评
出场
Movie Magazine
Film Journal
Yingxi Concept
Chinese Film Theory Criticism
Appearance
