摘要
《中国电影》是抗战时期的大后方出版的唯一一本电影学术刊物,具有鲜明的专业性与权威性。内行办刊的编辑理念、“电影抗战”的编辑立场、灵活的编辑策略成为《中国电影》的编辑思想。在这种编辑思想的指引下,《中国电影》刊发了大量关于电影的功用、电影的国策、中国电影应走什么路线、农村电影的制作、纪录电影的价值、如何借鉴苏联电影经验等为主题的讨论,成为匡助大后方建构抗战动员话语的重要介质和战时“电影救亡”的缩影。
Chinese Film is the only academic film publication published by the rear during the War of Resistance,and it has strong professionalism and authority.The editing philosophy of the expert journals,the editing position of the“Anti-Japanese Film”,and flexible editing strategies have become the editing ideas of Chinese Film.Under the guidance of this editorial thought,Chinese Film published a lot of information about the function of film,the national policy of film,what line Chinese film should follow,the production of rural film,the value of documenting film,how to learn from the experience of Soviet film,etc.The discussion of themes has become an important medium for helping the rear to construct anti-Japanese mobilization discourse and a microcosm of the“movie rescue”in wartime.
作者
董广
Dong Guang(Faculty of Humanities,Southwest Jiaotong University,Chengdu 611756,China)
出处
《重庆师范大学学报（社会科学版）》
2020年第4期5-14,共10页
Journal of Chongqing Normal University(Edition of Social Sciences)
基金
2018年度重庆市教育委员会人文社会科学重点研究基地项目“抗战大后方电影与民众动员研究”(18SKJD007)
2019年度重庆市抗战文史研究基地开放性课题“抗战时期的重庆电影与公共领域的建构”(19KZY09)。
