民国电影的现实主义美学批判

Realistic Aesthetic Criticism of Film in the Republic of China

民国电影作为中国电影发展史中一种特殊的文化现象,具有独特的美学及文化含义。对民国电影的现实主义美学批判,既是对这一特殊电影历史时期的重新认识,更是对民族电影文化传统的保护与传承。民国电影的美学特质充满着现实主义的批判热情,又在众声喧哗的嘈杂中思路不清;民国电影具有强烈的人文意识与人文关怀,对底层民众的悲欢离合有真切的体认与表达,但缺乏较为宏观的文化视野与思维高度,在文化价值观上失之于琐碎;民国电影"文以载道",承载着社会教化、救亡与解放等历史使命,同时也在沉重的文化包袱中乏力地呐喊,无力地抗争。民国电影在特殊的历史条件下塑造了一个个勤劳、坚韧、不屈的中国人形象,并间接地完成了对国家形象的刻画,然而在这种充满韧性与耐性的表象下则是一个痛楚无助的民族的灵魂意象。

As a peculiar historical period, film in the Republic of China has its peculiar aesthetic and cultural mean- ing. The realistic aesthetic criticism of film in the Republic of China is not only a re - recognition of it but also a pro- tection and inheritance of the cultural tradition of our national film. Film in the Republic of China was filled with a re- alistic critical passion and a strong sense of humanistic consciousness and concern. Film in the Republic of China had a historical mission of social educating and salvation and liberation. It has shaped a series of industrious, tenacious Chinese people＇s images, and indirectly completed a depiction of national image.