左翼电影

左翼电影的现代性审美特征

Modernity and Aesthetics in Left-wing Films

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 ;

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

浅析左联时期的左翼电影运动

Analysis of Left Film Movement in Leftist Association Period

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 .

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

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 .

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

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

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 .

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 .

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 .

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 .

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 .

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 .

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 .

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 .

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 .

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 .

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 .

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 .

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 .