袁牧之

袁牧之与“电影村”

Yuan Muzhi and the " Film Village "

袁牧之戏剧历来少有人研究，但他在戏剧表演、剧本创作及理论创新各方面都有积极的贡献。

Yuan Muzhi has made many positive achievements in drama performance , writing and drama theory .

文章从袁牧之与鲁迅、“左联”的关系，袁牧之在苏联的情况及几个方面进行研究。

This article analyzes his relation with Lu Xun , the Leftist Union and his experience in the Soviet Union .

袁牧之商业电影思想带有了明显的“中国特色”，是计划经济调控下的市场化。

His thoughts on commercial films bear distinct Chinese characteristics , and the main idea is a marketization under the planning economy .

新中国第一任电影局长袁牧之在设计新中国电影宏伟蓝图时第一个提出“新中国电影要走企业化道路”的设想，并为此付出了极大的努力和实践。

Yuan Muzhi , the first director of the Bureau of Films of China , was the initiator of the idea that the Chinese film industry should be commercialized .

在现代戏剧基本观念的影响下，袁牧之戏剧体现出启蒙的性质，主要表现为创作手法的现实主义主流，内容平民化，主题反帝反封建，学术研究科学严谨等方面。

Guided by modern drama theories , his plays are moralizing in nature , which is characteristic of realism , plebification in contents , and anti-feudalism in themes , and rigorousness in style .

1935年，电通公司推出了袁牧之导演的中国第一部音乐喜剧故事片《都市风光》。影片以清新活泼同时又辛辣尖锐的艺术风格在电影史上占据着重要地位。

In 1935 , Diantong Film Company produced the first Chinese musical comedy City Scenery directed by Yuan Muzhi , whose artistic style was fresh and lively as well as bitter and harsh , occupying an important position in the film history .