民族、国家与跨地性：反思中国电影研究中的理论架构被引量：30

The Status of Theory in Chinese Film Studies: From Ethnicity and National Cinema to Translocal Practice

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摘要中国电影研究领域既有的理论框架有二,一是"去中国性"的唯理论范式,把中国电影纳入以西方为中心的全球视野加以理论化考量;一是"国族电影"范式,其理论的有效使用旨在为民族文化和国家政体提供正当性。基于电影史的发展实际和全球空间政治的既有格局,本文提出"跨地性"的理论框架,主张沿着人文地理学的路径从空间和跨地域的维度,而不是从民族和国家的维度,重构中国电影研究的理论框架,旨在为中国电影研究提供新的视域。 Two major theoretical frameworks exist in Chinese film studies： first, the paradigm of questioning ＂Chineseness,＂ which theorizes Chinese cinema in terms of globalization predominantly centered in the West; second, the paradigm of ＂national cinema,＂ which works effectively to legitimate nation culture and state ideology. This article draws on concrete examples from Chinese film history in relation to the global poli- tics of space and proposes a framework of translocality, which aims to provide a new direction for Chinese film studies by following the route of human geography and re - conceptualizing film theory from the perspective of space and polylocality rather than the nation -state.

作者张英进

机构地区上海交通大学人文学院

出处《南京师范大学文学院学报》 CSSCI 2012年第3期1-9,共9页 Journal of School of Chinese Language and Culture Nanjing Normal University

关键词中国电影研究理论架构跨地性民族国家 film theory, translocality, ethnicity, national cinema

分类号 J902 [艺术—电影电视艺术]

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