论中国电影对陕北民歌的两次演绎和传播现象

On the twice focus and spread of Northern Shaanxi folk songs in Chinese films

1949年以后的中国电影创作中,曾出现过两次比较集中的对于陕北民歌及其地域文化的演绎和传播现象,先后在银幕上出现了"红色陕北民歌"和"原生态陕北民歌"的代表作品及其全社会流行热潮;与此对应,陕北民歌及其地域文化又对中国电影的审美特征、文化指向具有反向渗透和影响作用。两者互动融合生发,最终塑造和建构了特定时代下中国电影的民族性以及民族文化的当代性、大众性,并在当代文化史上影响深远。全球化视觉文化语境下,这种大众电影与民族艺术文化互动传播的现象与模式,值得我们继续关注、探讨和实践。

There had been twice typical focus and propagation of Northern Shaanxi folk songs, in Chinese films after 1949, and the red ＆ ortho states Shaanxi folk songs on Chinese screens. In this context, Shaanxi folk songs also conduct interaction and overlapping over Chinese film works, which constructed and modeled the nationalization of Chinese films and the modernization of Chinese culture. It is worthy of further concern of the interactive and mode for national culture and film in the specific context of culture.