作者：徐敏;

机构： 中国传媒大学文学院,

中文关键词：样板戏电影;;电影生产;;文本政治;;献身仪式

英文关键词：

中文摘要：自1968年始,中国电影工业在国家建设独立自主的工业、农业与国防等基础体系的过程得到了长足的发展,这一方面导致“文革”文化与意识形态中“工农兵”主体性的进一步强化,另一方面国家也因电影的高度组织化、复制性及观影可控性等特点,生产出一系列具有典范意义的“样板戏电影”。“样板戏电影”通过独特的手段与话语形式,以自我为中心引导其他诸种艺术类别,重新规划文学、戏剧及舞台剧、音乐、造型艺术、大众传媒等的文化权力关系,并设计出完全符合国家需要的“献身者”主题。而这一时期中国社会的观影模式、传播形态及电影院的特定空间位置,共同构建出“样板戏电影”作为“文革”时期的国家仪式场所形态。

英文摘要：Since 1968,the Chinese film industry has developed greatly in the process of independent construction of our own industry,agriculture and national defense,which,on the one hand,has further enhanced the culture of “Cultural Revolution” and the workers-peasants-soldiers subjectivity,and on the other,the state has produced a series of exemplary “Model Peking Opera movies” owing to the highly organizational,reproductive and controllable audience systems.By special means and different forms of discourses the “Model Peking Opera movies” have self-centeredly taken the leadership among other literary genres,redistributed the cultural power relations among literature,drama,plays,music,plastic art and mass media,and deliberately devised the theme of “dedicators” that met the need of the state.And the audience,the dissemination of films and the particular space of cinemas of this special period in China had jointly constructed the “Model Peking Opera movies” as the pattern of state rituals during the “Cultural Revolution”.

[中文刊名]：文艺研究 [出版日期]：2007-04-10 [CN]：11-1672/J [ISSN]：0257-5876

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