摘要
1926年孙师毅将马克思的阶级论与唯物论引入电影界,主张电影编剧为底层无产阶级呐喊,申明历史更迭的必然性,树立以改造社会为己任的创作观念。1931~1932年,孙师毅汲取了列宁的著名论点,即“在我们一切艺术中最重要的是电影”,以本名与笔名联合阐发一种“电影———笔”意识形态理论,强调电影作为文化武器的重要价值,鼓励进步文人进入电影市场争夺大众文化的领导权。孙师毅的电影理论虽然未能生根成系,但是其先锋探索精神与激进理论构想不失为左翼电影运动的思想前奏。
In 1926,Sun Shiyi introduced Marxist Class and Stratum Theory,along with Materialism into the film industry,advocating that film screen writers should declare the inevitability of historical change to the proletariat and establish a creative concept with the responsibility of social reconstruction.From 1931 to 1932,Sun Shiyi drew on Lenin’s famous thesis that“Of all our art,the most important will be the kino”,combined with his own name and pseudonym to elucidate a“Camera—pen”ideological theory,not only emphasized the great value of film as a cultural weapon, but also encouraged progressive literati to enter the film market to occupy the hegemony ofpopular culture. Although Sun Shiyi’s film theory never be systematic, his pioneering spirit of exploration and radical theoretical discourse can be an introduction of the left-wing film movement.
出处
《文化研究》
2021年第4期86-98,共13页
Cultural Studies
基金
国家社科基金重大招标项目“中国现代电影文学资料发掘、整理与资源库建设”(项目编号:18ZDA262)的阶段性成果。
