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1922年冬天,格里菲斯的影片《赖婚》来到中国,引起轰动。《赖婚》暗合了当时中国的一些尖锐的社会问题,刺激了中国本土爱情片的创作。同时,影片的道德观、价值观、贞操观,以及“最后一分钟营救”等手法,也为中国早期电影的题材选择与影像表述提供了一个方法上和观念上的双重范本。
The winter of 1922, Griffith’s film “Lai Lai” came to China, causing a sensation. “Lai marriage” coincides with some of China’s sharp social issues at that time, stimulating the creation of Chinese local love films. At the same time, the film’s ethics, values, chastity, and “Last Minute Rescue” also provide a methodological and conceptual dual paradigm for the selection of themes and the representation of images in early Chinese films.