華語電影概念的起源、發(fā)展和討論——魯曉鵬教授訪談錄
發(fā)布時間：2018-09-04 14:23
【摘要】："華語電影"概念不是出自20世紀90年代中國的港臺學界,而是更早出自20世紀50年代的新加坡、馬來西亞華文書刊。它是當時華人創(chuàng)造的概念,用以尋求一種自主的華人電影論述方式。早在20世紀五六十年代,新加坡和馬來西亞的本土電影導演和媒體報刊已普遍使用華語電影一詞,當時新加坡已有華裔導演易水親自拍攝使用普通話和華人方言的華語電影,易水也前后在當?shù)貓罂珜懹嘘P(guān)華語電影的文章,引起了不少反響和討論,之后他把這些文章和討論結(jié)集出版成書。華語電影在當時的使用語境已類似當代華語電影的用法,即是一個復數(shù)的概念,既包含中國大陸和港臺以及其他華人區(qū)域的中文電影,亦涵蓋各地華人方言電影。當時新加坡、馬來西亞華語電影提倡的"多種華語"是21世紀魯曉鵬和葉月瑜提出的華語電影的先聲。這不但為我們當代華語電影概念的生成深化提供了一個歷史化的維度,也在厘清華語電影概念既不是美國中心主義,也不是中國中心主義的爭論中具有重大意義。
[Abstract]:The concept of "Chinese film" came not from the Hong Kong and Taiwan academic circles in China in the 1990s, but from the Chinese books and periodicals in Singapore and Malaysia in the 1950s. It is a concept created by Chinese people at that time, in order to seek an independent Chinese film argumentation. As early as the 1950s and 1960s, the term "Chinese film" was widely used by local film directors and media newspapers in Singapore and Malaysia. At that time, Chinese director Yi Shui in Singapore made films in Mandarin and Chinese dialects in person. Yi Shui also wrote articles about Chinese movies in local newspapers, which aroused a lot of reaction and discussion. Later, he published these articles and discussion collections into books. The context in which Chinese films were used at that time was similar to the usage of contemporary Chinese films, that is, a plural concept that included Chinese films from mainland China, Hong Kong, Taiwan and other Chinese regions, as well as local Chinese dialect films. At that time, Singaporean and Malaysian Chinese films advocated "multiple Chinese languages", which were the forerunner of Chinese films proposed by Lu Xiaopeng and Ye Yueyu in the 21st century. This not only provides a historical dimension for the formation and deepening of the concept of contemporary Chinese film, but also has great significance in clarifying that the concept of Chinese film is neither American centralism nor Chinese centralism.
【作者單位】： 加州大學戴維斯分校比較文學系;南洋理工大學中文系;
【分類號】：J905
[Abstract]:The concept of "Chinese film" came not from the Hong Kong and Taiwan academic circles in China in the 1990s, but from the Chinese books and periodicals in Singapore and Malaysia in the 1950s. It is a concept created by Chinese people at that time, in order to seek an independent Chinese film argumentation. As early as the 1950s and 1960s, the term "Chinese film" was widely used by local film directors and media newspapers in Singapore and Malaysia. At that time, Chinese director Yi Shui in Singapore made films in Mandarin and Chinese dialects in person. Yi Shui also wrote articles about Chinese movies in local newspapers, which aroused a lot of reaction and discussion. Later, he published these articles and discussion collections into books. The context in which Chinese films were used at that time was similar to the usage of contemporary Chinese films, that is, a plural concept that included Chinese films from mainland China, Hong Kong, Taiwan and other Chinese regions, as well as local Chinese dialect films. At that time, Singaporean and Malaysian Chinese films advocated "multiple Chinese languages", which were the forerunner of Chinese films proposed by Lu Xiaopeng and Ye Yueyu in the 21st century. This not only provides a historical dimension for the formation and deepening of the concept of contemporary Chinese film, but also has great significance in clarifying that the concept of Chinese film is neither American centralism nor Chinese centralism.
【作者單位】： 加州大學戴維斯分校比較文學系;南洋理工大學中文系;
【分類號】：J905
【參考文獻】
相關(guān)期刊論文 前2條
1 呂新雨;魯曉鵬;李道新;石川;孫紹誼;柏佑銘;唐維敏;王汝杰;唐宏峰;李力;盧W，
本文編號：2222418
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