發(fā)布時間：2018-03-19 11:15

  本文選題：《電影藝術(shù)》　切入點：中國美術(shù)電影　出處：《廣西大學(xué)》2017年碩士論文　論文類型：學(xué)位論文

【摘要】：《電影藝術(shù)》是新中國首家電影專業(yè)性理論刊物,也是報刊領(lǐng)域研究新中國電影的重要窗口。在1956-1966年的《電影藝術(shù)》中,美術(shù)電影作為一個單獨個體,被持續(xù)書寫與關(guān)注,展現(xiàn)了相對多元的中國美術(shù)電影觀念。它突破了目前學(xué)界對于“十七年”時期美術(shù)電影“民族化、藝術(shù)化、中國學(xué)派”的總結(jié),亦有效修正了歷史話語與時下研究的抵牾。這是美術(shù)電影研究與報刊研究中應(yīng)被好好發(fā)掘的一個坐標(biāo)。但遺憾的是,國內(nèi)對其的關(guān)注意識較為薄弱。據(jù)此,本文將以《電影藝術(shù)》1956-1966年刊載的中國美術(shù)電影相關(guān)文章為對象,通過文本細(xì)讀,并結(jié)合政治語境、同時期重要報刊上刊載的美術(shù)電影相關(guān)文章,以內(nèi)外結(jié)合的視角,系統(tǒng)梳理《電影藝術(shù)》中呈現(xiàn)的中國美術(shù)電影觀念,并對其缺失和偏頗之處進(jìn)行學(xué)術(shù)反思,以期共同推進(jìn)《電影藝術(shù)》的研究及中國美術(shù)電影研究。第一章從歷時與共時兩個角度,厘清《電影藝術(shù)》(1956-1966)中美術(shù)電影觀念的變遷和成因。第一,中國美術(shù)電影觀念的歷時變遷分為“前《電影藝術(shù)》階段”、“訴求階段”、“調(diào)和階段”、“妥協(xié)階段”,四者鮮明體現(xiàn)出美術(shù)電影為追求自身“獨立性”與政治的斡旋。第二,以國內(nèi)和國際政治語境組成的期刊“外部”環(huán)境,與作者和編輯組成的期刊“內(nèi)部”環(huán)境,共同決定了《電影藝術(shù)》中美術(shù)電影觀念的呈現(xiàn)。第二章梳理與探討《電影藝術(shù)》(1956-1966)中美術(shù)電影的創(chuàng)作觀�！凹俣ㄐ浴薄ⅰ艾F(xiàn)實性”與“民族性”創(chuàng)作觀形成相互映襯的格局,可作為從宏觀層面理解、把握《電影藝術(shù)》中具體文本的關(guān)鍵詞。一方面,“假定性”作為核心的藝術(shù)本體,是抽象的藝術(shù)觀念,它必然與“現(xiàn)實性”創(chuàng)作觀引發(fā)沖突。另一方面,“假定性”與新中國具體條件、環(huán)境結(jié)合而生成的“民族性”創(chuàng)作觀在“十七年”中具有突出成果,同時亦存在多重瑕疵與紕漏。第三章探討《電影藝術(shù)》(1956-1966)中美術(shù)電影批評觀的“失衡”原因。政治意識形態(tài)造就的話語權(quán)威,引導(dǎo)和規(guī)約著批評者,使美術(shù)電影批評文本顯示出“緊跟政治”、“重視宣教”的形態(tài)。但同時,美術(shù)電影批評亦從審美維度找到了追求自身豐富性的突破口。第四章梳理《電影藝術(shù)》(1956-1966)中的美術(shù)電影史觀。在“革命美術(shù)電影史觀”的籠罩下,《電影藝術(shù)》的文本“縫隙”中仍隱藏著對美術(shù)電影歷史的多元認(rèn)識,從外國、世界、民族傳統(tǒng)、藝術(shù)等角度展現(xiàn)了美術(shù)電影的發(fā)展與自立。其中,靳夕的《中國美術(shù)電影的發(fā)展》一文,可視為其中的最高成果。第五章以前三章的分析為基礎(chǔ),反思《電影藝術(shù)》(1956-1966)中國美術(shù)電影觀念。在美術(shù)電影創(chuàng)作與文章撰寫中,存在著對“美”的獨立性、實驗性創(chuàng)作、“兒童性”理解的眾多偏頗,而《電影藝術(shù)》作為體制內(nèi)刊物,從話語空間上亦給多元與深入的思考帶來限制。但同時,美術(shù)電影亦在“革命性思維”的運用與對“人”的普世關(guān)懷等方面給人以啟示。
[Abstract]:Film Art is the first theoretical publication of film specialty in New China and an important window for the study of New China films in the field of newspapers and periodicals. In the Film Arts of 1956-1966, art films, as a single individual, have been continuously written and paid close attention to. It breaks through the current academic summary of "nationalization, artistry, and Chinese school" of art films during the period of "17 years". It also effectively corrects the contradiction between historical discourse and current research. This is a coordinate that should be well explored in the study of fine arts films and newspapers, but unfortunately, the awareness of its concern in China is relatively weak. This article will take the Chinese fine arts film related articles published in 1956-1966 as the object, through the text careful reading, unifies the political context, at the same time important newspaper carries the fine arts movie correlation article, in the internal and external union angle of view, Systematically combing the concept of Chinese art film presented in film art, and carrying on academic reflection on its deficiency and bias. In order to jointly promote the study of "Film Art" and the study of Chinese fine arts film. The first chapter clarifies the changes and causes of the concept of art film from two angles of diachronic and synchronic. The diachronic changes of the concept of Chinese art film can be divided into "the stage of film art before", "stage of appeal", "stage of reconciliation", "stage of compromise", and the four vividly reflect the mediation of art film to pursue its own "independence" and politics. The "external" environment of periodicals, which is composed of domestic and international political context, and the "internal" environment of periodicals composed of authors and editors, The second chapter combs and discusses the creative view of art film in "Film Art" (1956-1966). "hypothetical", "reality" and "nationality" create a pattern that sets off each other. On the one hand, "hypothetical" as the core of the art of art, is an abstract artistic concept, On the other hand, the concept of "nationality", which is formed by the combination of "hypothetical" and concrete conditions and environment in New China, has outstanding achievements in "seventeen years". At the same time, there are many flaws and flaws. Chapter three discusses the reasons of "imbalance" in the view of fine arts criticism in Film Art (1956-1966). The discourse authority created by political ideology guides and governs critics. The text of art film criticism shows the form of "following politics" and "attaching importance to preaching". But at the same time, Art film criticism also found a breakthrough from the aesthetic dimension to pursue its own richness. 4th chapters combing the history of fine arts in "film art" (1956-1966). Under the "revolutionary art film historical view", "film art" literature. This "Gap" still hides the multi-understanding of the history of fine arts films, From the perspectives of foreign countries, the world, national traditions and art, it shows the development and independence of fine arts films. Among them, Jin Xi's "the Development of Chinese Fine Arts Films" can be regarded as the highest achievement among them. The analysis of the previous three chapters in Chapter 5th is the basis. Rethinking "Film Art" (1956-1966) the concept of Chinese fine arts film. In the creation and writing of fine arts films, there are many biases about "beauty", experimental creation and understanding of "children's sex", while "film art" is a publication within the system. But at the same time, the application of "revolutionary thinking" and the universal concern for "man" are also enlightening.
【學(xué)位授予單位】：廣西大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：J905

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