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自1949年至1966年,中国影视剧的创作和评价主要以政治话语为主导,其人物形象再现也被高度“刻板成见”化。农民,因其与红色政权性质的一致性,具有先天的政治正确性,成为一个被大写和极力讴歌的主体。而地主与知识分子,则以其政治的反动性与革命立场的模糊性,在影像文本中被置于与“革命性”对立的一极。这种影视剧中的人物再现,深刻定格并影响了这一时期中国的文化生态,也影响了中国80年代乃至延续到新世纪的文化版图。
From 1949 to 1966, the creation and evaluation of Chinese film and television plays were dominated by political discourse and the reproduction of their characters was also highly “stereotyped”. Because of its consistency with the nature of the red regime, peasants have the inherent political correctness and become a subject who is capitalized and strongly praised. The landlords and intellectuals, however, are placed in a pole of their “revolutionary” opposition in the image texts with the vagueness of their political reactionary and revolutionary positions. The reproduction of characters in this film and television drama profoundly fixated and influenced the cultural ecology of China in this period, and also affected the cultural map of China in the 1980s and even into the new century.