中国电影学派的本土立场与民族文化身份建构——以20世纪30年代的左翼电影音乐为例

Local Positioning of Film School in China and Status Construction for Ethnic Culture: Take Left-wing Film and Music in 1930s as an Example

在丰富的历史传统或鲜活的现实经验中寻求可供论证的实例,通过对于中国电影的本土性、民族性的寻求以重塑当下中国电影的主体意识,是建构"中国电影学派"的题中应有之义。20世纪30年代随左翼电影运动而兴起的左翼电影音乐是中国电影史上最早的电影音乐创作思潮,可为当下建构"中国电影学派"的合法性提供诸多历史镜鉴。左翼电影音乐的特质在于其鲜明的本土立场。这种本土立场首先表现在深厚的现实意识,它坚持底层目光、批判精神与大众立场的结合,以现实主义笔触探听时代脉搏,与国家社会进程紧密共振。左翼电影音乐的本土立场还表现在鲜明的民族化姿态,它大量汲取传统音乐资源,并积极对之进行现代化转换,与此同时它并不以二元对立的目光看待传统与现代的关系,而是将民族化路线融合于世界性目光之中,从而使得创作呈现出开放性的视域。

Seeking practical examples for demonstration among rich historical tradition or vivid real life experience and reshaping the subject consciousness of Chinese films through exploring the aborinigality and nationality of Chinese film is essential in constructing the title of "film school in China".In the 1930s,the left -wing film music arisen along with the left -wing film campaign is the earliest trend of thought of film music creation in the history of film in China, which wiIl provide much historical experience for the legality of constructing the "fiIm school in China".And the characteristic of left -wing film music lies in the distinct local positioning.This local positioning is preliminarily demonstrated in the profound realistic awareness,sticking to the combination of rock -bottom view,critical spirit and standpoint of the mass,which has tried to find out the pulse of the times with the pen of realism and has closely resonated with national and social development.The local positioning of the left -wing film music is also manifested in the distinct nationalization posture,which has drawn large amounts of traditional music resources and transformed them into modernization actively.