左翼电影
- 网络left-wing films
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左翼电影的现代性审美特征
Modernity and Aesthetics in Left-wing Films
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20世纪30年代左翼电影在中国出现的原因:20年代电影业畸形发展的反拨;
The reasons that Chinese Left-wing films appeared in 1930s : Film making developed abnormally in 1920s ;
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20世纪30年代中国左翼电影音乐创作
On the Left-wing Movie Music Creation of the 1930s
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浅析左联时期的左翼电影运动
Analysis of Left Film Movement in Leftist Association Period
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第三部分主要对左翼电影歌曲的题材类型进行了归纳。
The third part will sum up types of subjects of left-wing movie songs .
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论左翼电影意识形态话语的建构策略及其现实困境
Strategy for building of left-wing ideological discourse of the film and its real dilemma
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很多左翼电影歌曲超越了它的载体,成为音乐的经典。
A lot of left-wing movie songs beyonded their carrieres , became a classic music .
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中国早期左翼电影暴力基因的植入及其历史传递&以1932年的《火山情血》为例
Historical implanting of violence in the early Chinese left-wing movies & A case study of Blood of Love in 1932
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电影市场对左翼电影类型转换和品质提升的作用&以《壮志凌云》为例
The Market 's Function in Style Changing and Quality Improving of Left-wing Movie & Taking Soaring Aspiration as An Example
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以左翼电影人为首的一批进步电影人加入电影行列,扩大了电影创作者的队伍。
To a group led by left-wing film advance film to join the ranks of the film , expanding the ranks of filmmakers .
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目标是通过探讨左翼电影运动的历史和影响,给予当代电影文化建设一定的指导意义。
The goal is to explore the history and impact of the left-wing film movement , to give the film culture now building guidance .
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第一章:讨论左翼电影的兴起和原因,左翼电影的发展以及作为新的电影道路的左翼电影的主要特色。
The first chapter discusses the rise and its causes of left-wing films , their development and the main features of left-wing films as a new road to films .
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第六章:论析左翼电影与好莱坞电影、苏联电影、软性电影之间的文化关系与较量,在冲突、借鉴、比较中进一步建构左翼电影美学。
Chapter six analyzes the relationship between left-wing films and other film culture forces , which is mainly about the cultural conflicts with Hollywood movies , Soviet films and soft films .
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第二章:阐释在政治与艺术的纠葛中左翼电影呈现出的不同类型,并在比较中结合具体的电影作品分析其美学特色。
The second chapter elaborates on the different types of left-wing films in the dispute of politics and art and analyzes their aesthetic features in the context of comparing concrete films .
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第四章:以阿尔图塞的意识形态理论来分析左翼电影中的工农、知识分子和女性形象。
Chapter four , with the state machinery ideology of Althusser theory as a weapon , analyzes three main characters in left-wing films , i.e. , workers and peasants , intellectuals and women .
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在9.18、1.28后,中国民众的抗日情绪空前高涨,促使我国的电影事业在国难声中很快步入了一个左翼电影主潮期。
After the 9-18 and 1-28 incidents , Chinese people were infuriated against Japanese . As a result , the Chinese movie industry soon stepped into the Leftist Stage in face of national crisis .
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1931年后,左翼电影运动的开展及时代的呼唤,进步电影逐渐发展壮大起来,成为表现反帝抗日主旨的重要艺术形式。
After 1931 , with the development of the left-wing film and the summon of age , the progressive film movement gradually developed and expanded into a significant artistic form of showing the purport of anti-Japanese .
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在电影与音乐两门艺术的交汇点上,在上海这个商业都市环境中,左翼电影歌曲有力地宣传了革命斗争意识,完成了服务于斗争的宗旨,也创造了流行的文化现象。
At the crossroad of movie and music , in Shanghai , the commercial city environment , left-wing movie songs promote awareness of the revolutionary struggle effectively , achieve the service objectives , and also created a " popular " culture phenomenon .
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左翼电影是诸多政治、文化力量的历史合力共同作用下的结果,在历史的发展过程中形成了自己特定的内涵、形态以及鲜明的美学原则。
Left-wing films were the result of the coaction of such historical composition of forces as politics and culture and had formed , in the process of their historical development , their specific connotations , patterns as well as the distinctive aesthetic features .
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在第一部左翼电影《狂流》(1933)中,她塑造的秀娟不但富有反抗精神,而且是个内心世界十分丰富的新女性,受到好评。1933年在由她主演的有声片《姊妹花》
In the first leftist movement film , Raging Waves ( 1933 ) , the role of Xiu Juan starred by her was the figure of a new woman with the rebellious spirit and rich in her inner world , which received favorable comments .
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左翼进步电影理论接受以苏联电影为代表的无产阶级电影理论,并介绍引进了欧洲电影理论,好莱坞电影也对这时的中国电影和理论产生过很大的影响。
The left-wing film theorists accepted the Soviet proletariat film theory and introduced European film theories to China as well . At the same time , Hollywood movie continued to exert great influence on Chinese filmmaking and theory .
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考察左翼文化运动推动电影发展的内在机制,重新提供一种关照30年代中国电影的眼光。
The author tries to observe and study the inner mechanism that the cultural movement of left wing promoted the developing of film and keep a fresh eye on 30 's Chinese film .