摘要
"十七年电影"的重要意义在于它在中国电影史和世界电影史上提供了另一种现代性方案,这一结果伴随三重改造而实现,其中上海电影是改造的主要对象。三重改造包括电影体制从私营改造为国营,电影人从小资产阶级知识分子改造为工农兵的一员,电影美学从资本主义的消费美学改造为"站在人民立场、塑造人民英雄、服务人民大众"的"人民美学"。这一美学在"文革"中曾遭到歪曲而走向反面,新时期以来又曾长期被遗忘,当下则到了重新唤醒"人民美学"的新的历史阶段。
The“seventeen years”film,which has been neglected for a long time,is receiving more scholarly attention.This paper argues that its significance lies in the films’ability to provide an alternative scheme of modernity in film histories in China and in the world.This result is achieved with the triple transformation,in which Shanghai’s films are the main object of the transformation.The triple transformation includes the transformation of the film system from a private one to a state-owned one,the transformation of filmmakers from petty-bourgeois intellectuals to workers,peasants,and soldiers,and the transformation of film aesthetics from capitalist consumption aesthetics to“people’s aesthetics”of“standing on the people’s position,building up people’s heroes,and serving the people”.This aesthetics has been distorted during the Cultural Revolution and has been assessed negatively.It has been forgotten for a long time in the new era.Now,it is the right time to revive“people’s aesthetics”.
关键词
十七年电影
影业改造
思想改造
人民美学
现代性
“Seventeen Years”Film
Film Industry Transformation
Ideological Transformation
People’s Aesthetics
Modernity
