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20年代后期的古装片、神怪武侠片连同早期的社会片、爱情片家庭伦理片构成了早期中国类型影片图景,其中商业本位的古装片和神怪武侠片因其艺术上的粗制滥造多受诟病,但其以风潮的形式出现一定程度上反映出这一时期电影文化的某种独特面貌。虽然商业竞争时期的类型片在电影文化上体现出一种倒退的趋势,但是一定程度上完成的电影文化的又一次重新整合,陆弘石所著的《中国电影:理论与阐释》中对20年代商业浪潮在原有学术成果的基础上重新阐释,观点具有时代性。
In the late 1920s, ancient costume films, god warrior martial arts films, together with early social films and romance family ethics films formed the picture of early Chinese genre films. Commercial-based costume films and magical martial arts films were mostly criticized for their art’s jumble, Its appearance in the form of a wave reflects to some extent some unique features of the film culture during this period. Although the genre in the period of commercial competition shows a backward trend in the film culture, yet another complete reorganization of the film culture is completed. Lu Hongshi’s “Chinese Film: Theory and Interpretation” The commercial tide reinterprets on the basis of the original academic achievements, and the viewpoints are of the times.