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中国电影史可以划分为四个时期:从1905年北京丰泰照相馆的任庆泰拍摄谭鑫培《定军山》中“请缨”、“舞刀”、“交锋”等片断开始,到1920年代末,为第一时期。这一时期是中国电影的萌生期,主要倾向是追求赢利。这一时期论者们认为电影的优点在于逼真,并在电影摄制的实践中学会了一些电影技法。自1930年罗明佑的《故都春梦》上映,至1940年代末,为中国电影史的第二时期,政治角力成为一个突出的现象,这一时期成长起一批有成绩的导演与演员,电影的技法被认识得更为清楚,并完成了从默片到有声片的过渡。在国难深重的形势下,左翼力量在电影界相当活跃。从1950年代到1976年,为中国电影史的第三时期,与话剧拉开距离的电影理论,在民族化浪潮中又向中国戏曲靠拢。而在政治的强势作用下,1930年代文艺,从1950年代初被称为小资产阶级的进步到最终被批为黑线。1976年至世纪末是中国电影史的第四个时期,这一时期又分为三个小阶段:从1976年到1983年,电影中的虚假现象遭到观众普遍的批评,求艺术手段之新、淡化戏剧性与对民族历程的反思这三点,成为这一阶段电影发展的新的动向。从1984年到1987年,是探索片强劲崛起并迅速退潮的阶段;从1988年到世纪末,合拍片的兴起及其落潮,第六代导演的出现,是这一阶段的两项重要内容。
The history of Chinese cinema can be divided into four periods: from the beginning of 1905 by Ren Qingtai in the Fengtai Photo Gallery of Beijing in the filming of “Invincible”, “Dance Knife”, “Confrontation” in Tan Dingpei, By the late 1920s, for the first period. This period is the beginning of the Chinese film, the main tendency is the pursuit of profit. During this period, the critics think the film has the advantage of being lifelike and has learned some cinematic techniques in the practice of filmmaking. Since the 1930 edition of Luo Mingyou’s “Old Capital Dreams” released to the late 1940s, for the second period of Chinese film history, political wrestling became a prominent phenomenon, this period grew up a group of successful directors and performers, movies The technique was recognized more clearly and the transition from silent film to audio film was completed. In the deep national crisis situation, the left-wing forces in the movie industry is quite active. From the 1950s to 1976, for the third period of the Chinese film history, the film theory that separated from the drama moved closer to the Chinese opera in the wave of nationalization. Under the influence of politics, literary and art work in the 1930s was eventually approved as a black line from the progress made by the petty bourgeoisie in the early 1950s. From 1976 to the end of the 20th century was the fourth period of the history of Chinese cinema, which was divided into three small stages: from 1976 to 1983, the fake phenomenon in the film was widely criticized by the audience and sought the new means of art, Desalination drama and the reflection of the national course of these three points has become a new trend of film development at this stage. From 1984 to 1987, it was a stage where the film exploded rapidly and ebbed quickly. From the year 1988 to the end of the century, the rise and ebb of co-production films and the emergence of the sixth generation directors are two important contents of this phase.