论文部分内容阅读
《迎春花》是“满洲映画协会”1942年摄制的电影作品,以殖民者的视角塑造了伪满时代的中国东北的城市生活,并隐含着与殖民主义相关的话语结构。影片的主演李香兰是20世纪30至40年代东亚最重要的女演员之一,其明星形象的影响力借助电影这一传媒形式配合了殖民者的文化实践,并延伸出有关明星文化与现代性的问题。而“满映”电影工业在20世纪30至40年代的建立和发展状况,也成为阐释《迎春花》影片的重要文化语境。
Spring Flowers is a film made by the Association of Manchurian Cinema in 1942, shaping the urban life in northeast China during the Manchukuo Manchurian colonial era and implying the discourse structure associated with colonialism. Film starring Li Xianglan is the most important actress in East Asia from the 30s to the 40s of the 20th century. The influence of its celebrity image cooperates with the cultural practices of the colonialists through the media of film, and extends the cultural and modernity of star culture problem. However, the establishment and development of the film industry in the 1930s and 1940s also became an important cultural context for interpreting “Spring Flowers” films.