电影艺术2024,Issue(2) :146-152.

中国电影"分幕"的文体创制与理论演进(1922-1937)

The Stylistic Creation and Theoretical Evolution of Chinese Film's"FenMu"(1922-1937)

陈晓
电影艺术2024,Issue(2) :146-152.

中国电影"分幕"的文体创制与理论演进(1922-1937)

The Stylistic Creation and Theoretical Evolution of Chinese Film's"FenMu"(1922-1937)

陈晓1
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作者信息

  • 1. 南京师范大学新闻与传播学院
  • 折叠

摘要

中国早期电影分幕的观念生发于跨媒介的语境之下,在跨国界的概念融合以及电影的实际制作经验中,分幕剧本逐渐作为一种特殊的电影文体形式被保留下来,并成为早期电影以实践为导向自觉做出的跨文体选择.镜头性表达指示了分幕剧本与其他电影文学文体形式的显著差别.在理论层面,时人对分幕的讨论界定了分幕这项工作的前提与标准,规定了分幕剧本的基本形态与语言趋向,并且深刻地影响了中国早期电影的类型选择与风格取向.

Abstract

The English translation of"FenMu"includes two types:scenario and continuity.The concept of FenMu in early Chinese films originated in a context of trans-mediation.Through the fusion of concepts across borders and the practical production experience of films,FenMu scripts have gradually become a special stylistic form of film genre,which is a conscious choice with a practical orientation.The cinematic expression indicates a significant difference between"FenMu"and other forms of film literature-styles.The theory of FenMu by filmmakers or scholars defined the prerequisites and standards for this work,stipulated the basic form and language trend of the scripts,and deeply influenced the genre selection and stylistic orientation of early Chinese films.

关键词

分幕/电影文体/早期电影/中国分幕理论

Key words

FenMu/film stylistics/early film/Chinese FenMu theory

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出版年

2024
电影艺术
中国电影家协会

电影艺术

CSTPCDCSSCICHSSCD北大核心
影响因子:0.411
ISSN:0257-0181
参考文献量72
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