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随着相关资料档案的公开和利用的便利化,美国外交文件中关于中国电影检查的档案,为我们审视南京国民政府时期的电影审查又提供了新的角度。1934年,针对美国电影《大地》的拍摄在中国遭遇南京国民政府电影审查,美国国务院要求驻华使馆机构人员出面维护米高梅公司的利益。1936年7月初至12月底,围绕南京中央电检委没收相关电影拷贝之处罚,美国驻华使领馆和美国国务院共发送十六组文件电函。相关涉事电影分别是华纳公司的《煤油灯》(Oil for Lamps of China),二十世纪福克斯公司的《傀儡》(The Ca’s Paw),派拉蒙公司的《糊涂将军》(General Died at Dawn)和《风尘奇女》(klondike Annie)。这些档案为重审“冲击—回应理论”提供了新的可能。其次,这些档案也为重审中国现代民族主义形成提供了外在的、他者的视角。最后,这些档案对于重新审视“二战”前中国的现代性和国际性提供了鲜活的案例。
With the openness and utilization of relevant information files, the files on the examination of Chinese cinema in the U.S. diplomatic documents provide a new perspective for our examination of the censorship of films during the period of the Nanjing National Government. In 1934, the filming of the movie “The Great Earth” hit the film censorship of Nanjing National Government in China. The U.S. State Department requested the personnel of the embassy agencies in China to safeguard the interests of MGM. From early July to the end of December 1936, around the punishment of the Nanjing Central Inspection Commission for confiscating relevant film copies, the embassy and consular corps in the United States sent a total of 16 sets of documents and letters to the U.S. Department of State. Related films were Warner’s “Oil for Lamps of China,” The Twentieth Century Fox’s “The Ca’s Paw,” Paramount’s General Died at Dawn, ) And Klondike Annie. These files provide a new possibility for retrial “Impact - Response Theory ”. Second, these files also provide an extrinsic, other’s view of the re-examination of the formation of modern Chinese nationalism. Finally, these archives provide fresh examples of re-examining China’s modernity and internationality before World War II.