左翼电影

  • 网络left-wing films
左翼电影左翼电影
  1. 左翼电影的现代性审美特征

    Modernity and Aesthetics in Left-wing Films

  2. 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 ;

  3. 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

  4. 浅析左联时期的左翼电影运动

    Analysis of Left Film Movement in Leftist Association Period

  5. 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 .

  6. 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

  7. 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 .

  8. 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

  9. 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

  10. 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 .

  11. 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 .

  12. 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 .

  13. 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 .

  14. 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 .

  15. 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 .

  16. 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 .

  17. 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 .

  18. 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 .

  19. 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 .

  20. 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 .

  21. 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 .

  22. 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 .