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电影史作为一个地区的电影记录,其研究视角会大大影响读者对该地区电影发展的认知和理解,进而影响该地区电影今后的发展。由于政治、经济、社会等各方面因素,台湾电影的独特发展历程导致台湾电影史的研究表现出一种鲜明的特色:把电影视为一种艺术、产业和传播文化三合一的系统,把电影的美学价值和技术革新融合到政治、经济和社会等外围大环境中去客观和公正地记录电影发展的历史。笔者认为,这种特色集中体现在台湾电影史关注研究对象的多元视角。以在台湾具有相当权威性和影响力的电影史著作——黄仁和王唯主编的《台湾电影百年史话》为例,可以发现这种多元视角在电影史编写上,具体表现为对为台湾电影做出贡献的各种电影人和各类电影作品、影响台湾电影发展的各类事件和现象、支撑台湾电影发展的电影产业和观影文化的多元关注。另外,笔者还试图从台湾电影发展本身的轨迹和所处的外围大环境中探讨台湾电影史研究的多元视角是如何形成的。最后,在大陆的中国电影史学界号召“重构中国电影史”的当下,笔者以钟大丰和舒晓鸣编写的《中国电影史》为例,尝试分析大陆的中国电影史研究的现存问题,期待通过探讨台湾电影史研究的多元视角对大陆的中国电影史研究提供借鉴和启示,帮助我们促进中国电影事业得到更好的传承与发展。
Film history as a regional movie record, its research perspective will greatly affect readers’ perception and understanding of the film development in the region, thereby affecting the future development of the region’s film. Due to political, economic and social factors, the unique history of Taiwanese cinema has led to a distinctive feature of the study of Taiwanese film history: the film is viewed as a system of three-in-one arts, industries and communication cultures. The aesthetic value and technological innovation of the film are integrated into the external environment such as politics, economy and society to objectively and justly record the history of film development. The author believes that this feature is embodied in the multi-perspective of the study object in the history of Taiwan film. Taking the “100-year History of Taiwan Film” edited by Huang Ren and Wang Wei as the authoritative and influential movie history book in Taiwan, for example, we can find that this multi-angle perspective on the compilation of the history of film has been specifically expressed as follows: Make contributions to a variety of filmmakers and all kinds of film productions, all kinds of events and phenomena that affect the development of Taiwan’s films, and support the multiple concerns of the movie industry and the film culture of Taiwan film development. In addition, the author also attempts to explore how the multi-perspective of the study of Taiwan’s movie history is formed from the trajectory of the development of Taiwan’s film itself and its external environment. Finally, with the call of China’s film historians on the mainland to “reconstruct the history of Chinese cinema,” the author attempts to analyze the existing problems in the study of the history of Chinese cinema in China by taking Dafeng and Shu Xiaoming’s “History of Chinese Cinema” as an example. By discussing the multi-perspective of the study of the history of movie in Taiwan, it can provide references and revelations for the study of the history of Chinese movies in mainland China and help us to promote the better inheritance and development of the film industry in China.