论文部分内容阅读
作为活跃于20世纪三四十年代的影剧者,潘孑农广泛参与了中国早期电影的发展与构建,在剧本创作、电影拍摄、插曲作词、表演阐发、电影批评等方面都有着个人经历和成长体悟。然而,在相当长的历史叙述中始终处于被遗漏的状态。本文首先试图客观、全面地观照潘孑农的电影观念,就纪录片创作、表演观念、电影批评三方面进行分述;其次,通过观照影片《街头巷尾》,对其创作始末进行考证与研究;最后,对《街头巷尾》进行文本解读,从喜剧的生发与“国破家立”的家国叙事观念两方面进行阐释。
As a playwright who was active in the 1930s and 1940s, Pan lainong participated extensively in the development and construction of early Chinese films. She has personal experiences and understanding of growth in scriptwriting, film shooting, episode lyrics, performance analysis and film criticism . However, it has always been in a state of omission in a fairly long historical account. This article first attempts to objectively and comprehensively observe Pan Yuenong’s movie idea, and then divides it into three parts: documentary creation, performance idea and movie criticism. Secondly, through the study of “the streets and lanes”, the author conducts a textual research on his creation. Finally, Street and End “to interpret the text from two aspects: the comedy of the comedy and the concept of the country narrative of” breaking the home ".