【作者】 冯俊锋；

【导师】 陈廷湘；

【作者基本信息】 四川大学 ， 中国近现代史， 2006， 博士

【摘要】 在中国电影刚刚走过百年的历史关头，电影史学整体重构与史学重叙已经成为理论界一个比较迫切的课题。在这种历史背景下，重新审视中国电影历史叙述与历史研究的状况是走近百年电影历史现场的一个切入点。作者截取国民党当局在大陆时期对电影20多年的管理与控制进行研究，并试图揭示出历史表象背后的价值和深意，为百年电影提供一份实证性的研究成果。长期以来，中国电影的百年历史一直落入一种意识形态被另一种意识形态掩盖的研究窠臼中。事实上，国民党当局在大陆时期对电影的探索具有超乎电影本身之外的意义，诸如，通过对电影的管理引发对文化的控制、利用电影训政、维护党派形象、发展电化教育以“启发民智、教育民众”进而作为参与治理国家的有效工具和手段等等。中国国民党作为20世纪中国历史上的进步党派和新生力量，对电影这一西式器物与此前任何一个政治集团对于外来器物的态度都截然不同，他们既不拒绝，也不限制，而是“拿来”为我所用。本文拟从国民党当局对电影的管理与控制入手，在原始档案材料的基础上，以微观、具体的历史事实说话，试还原并图厘清国民党当局对电影的艰辛探索和巧妙的工具意识。本文共分七章。导论。这一部分集中回答了选题的原因，对这之前的相关理论研究进行了详细的盘点，对电影史学的现实语境进行了客观分析。通过对现有第一手资料的甑别和类型化研究的比较分析，论证出国民党当局为了将电影变成国家治理的工具，从而加强了对电影的控制与管理。并详细阐明了该选题研究还处在空白阶段，具有不可低估的理论价值和现实意义。第一章：维护教化：国民党当局关注电影的最初视角。国民党最初对电影的关注，包括检查电影相关法规的出台，主要为强调电影的教育功能，关注影片对民众的道德教化。本章不仅利用第一手原始档案资料论证了电影检查制度的准确时间，避免了以讹传讹的学术倾向，并重点评价了上海特别市电影检查委员会在电影检查方面的贡献，对国民党当局以往强硬的审查电影“剪刀”政策，转而人性化的剧本审查亦有正面积极的评述。第二章：立场博弈：国共两党电影领域里的初次角力。任何作品都具有倾向性，电影的主题和立场的倾向性在特殊的30年代似乎格外敏感。那场银幕里的“意识”之争，为国民党当局加强文化控制做了极好的理论铺垫。但真正引起国民党高层警觉的是鲁涤平《电影艺术与共产党》一文的一份“密呈”，很多学者都提到过鲁文，但对于该文的“台前幕后”并不完全知晓。作者依赖档案资料对这件重大的历史事件进行了详细披露与客观评述。特别是国民党当局对鲁文的查核情况与定性背景做了恰如其分的分析。作者认为，左翼电影在当时的巧妙生存，都与国民党当局对鲁文的查核时否定性的评价有关。第三章：自办电影：国民党电影工具性的凸显。郑峻生《如何抓住电影这武器》一直被视为是国民党当局发展电影系统思路的理论指南，这份建议对于中国电影的发展与走向勾划了一个相当清晰的蓝本。该建议结合特殊年代无线电与电影的特殊作用提出与当权者合谋的远见，尽管由于战事影响和国内形势的动荡加剧，《如何抓住电影这武器》里许多计划没能完全如愿实现，但并不妨碍它在电影史学上的特殊价值和历史地位。在《如何抓住电影这武器》这种理论直接指导下，电影工具性在国民党执政理念里逐步显现，国民党当局也先后建立了塑造国民党形象的“中电”和提升国民党军威的“中制，官营电影体系由此建立，官营电影体系的建立是国民党教化和宣传工具的双重武器。第四章：内外兼顾：国民党对电影的基本控制。在20世纪30年代，动荡的的中国同样以其文化的厚重性和民族的独特性吸引着外面的世界，大批西方电影工作者试图用镜头记录下这个国度最具特征的一面，以此来洞悉这个国度的经济、社会和文化。当时，贫民窟、燕子窝、小脚妇女、褴褛乞丐、和尚做斋、乡村神会等成为这些来华影像工作者主要捕捉的对象。国民党以“关系国家体面，社会风俗，至为重大”为由，禁令外国人擅自来华拍摄。邵力子针对这一精神还专门进行了提案。同时，将国民党首次对外国人拍摄的限制的历史真相、“电影国营化”进行了还原。在这一阶段里，国民党影人郑用之的电影风格得到了基本的确立，这也是“三民主义”电影理论进一步深化的标志。由于战事影响，“中电”与“中制”的起落沉浮考验着中国脆弱的电影产业，在这种特殊的形势下，国民党当局依然建立了电影发行模式，为“党国”意识形态的“全国化”做了极好的铺垫。第五章：教育电影：国民党治理国家的远景构想。国民党当局积极发展教育电影是按照孙中山的“建国纲领”提出的三个阶段中，为进入“训政”阶段进行准备有步骤地实施的，也是国民党当局文化控制的“新路线”。本章对教育电影早期活动的相关历史进行了揭迷，对大学摄制活动进行了关照，对我国首部电影《农人之春》获国际大奖的历史本相进行了客观叙述，同时对教育电影的理论建立与拍摄成就也进行了研究。第六章：电影治国：国民党文化控制的总方向。本章重点关注了电影救国的争论和电化教育在全国的推行。这两个问题实际上具有一致性和延续性，国民党1938年公布的《抗战建国纲领》已提出根据战争的需要改订教材和教育制度，“推行战时教程，注重国民修养”当作是把教育与战时政治更紧密的统一起来的政治方向。各级学校教员都必须担负党务工作，“为党服务”。实行新县制之区及遵照蒋介石的提议实行政教合一。这一政策贯彻以后，教育管理与教学内容都完全被纳入战时政治统一的轨道，学校在很大程度上成了国民党强化思想统一的工具。第七章：历史余音：国民党在大陆时期对电影控制的终结。国民党当局对电影管理与控制的终结，与国民党统治集团在大陆政治舞台的淡然出局休戚相关。本章通过对电影出路之争的分析与官营电影的重重危机的关注，以唯物史观的观点总结出国民党当局在大陆时期对电影业管理与控制终结归宿的历史必然。本文比较客观地评价了国民党电影的历史地位，并注意了历史的纵向连接和横向展开的结合，以公允的立论试图揭示出，国民党当局20世纪在大陆时期对电影业20多年的管理与控制，都出自于让电影服务于国家治理这一历史原点。更多还原

【Abstract】 It’s exigent in theory to reconstruct the film historiography and re-depict the science of history when the Chinese filmdom celebrates its one hundred anniversaries. A right cut-in point to come near the historical spot over the century is to resurvey the historical relation and research fruits. The author intercepts the period over20 years of Kuomintang’s management and control in the film industry in mainland to expose the value and profundity meaning, as a demonstration in the film development in the past century.The research into the film history has been framed between one ideology and another for decades. As a case stands the significance that the exploration into this field of KMT goes far beyond the industry itself, for instance, the control over culture, protecting the Party body, popular enlightenment and education through visualized tools so as to rule the country effectively. As a progressive party and renascent force in early 20th century, the KMT regards the borrow-in things from the west completely different from any political bodies before, neither refuses nor restricts but "take it for use". This essay, based on abounding original archives, datum, files and materials, focuses on the government’s involvement in film industry, intends to outline its hard exploration and instrument consciousness distinctly.The essay includes seven chapters.Guidance - stating the reason to work on this subject. This part summarizes the present theory researches and analyzes objectively the settings of the film historiography, proves that why the government strengthens the management and control by means of movies through the first-hand supporting materials. The author also clarifies the valuable and realistic significance of the paper since related researches remain blank in this area.Chapter One: Maintaining moralization -the government’s attention to the industry. Initially, the authority issued related examination policies to ensure the educational functions of movies for moralization. The author clears the starting time of the film censorship through first-hand archives and evaluates positively the transformation from flinty "scissors policy" to soft screenplay checkup, and the contribution to the industry of the Shanghai Film Censorship Committee.Chapter Two: Standpoint Disputation - the first campaign between Chinese Communist Party(CCP) and Kuomintang(KMT) in the film industry. Any piece of exoterica works has its tendency. It is especially sensitive for movies to show up in the 1930th. The dispute arouses between CCP and KMT ideologically, but what sternly attended by the top authority is the report, the CCP and Art of Movie, by Lu Diping, who has been regularly mentioned by other researchers, but not in detail. In this essay, the author reveals what behind the curtains, appraises approximately about the historical event upon the archives, especially how the authority investigated and commented on Lu’s articles and views, attests that the survival of the left-wing films owes much to the negative conclusion of Lu’s incident.Chapter Three: Film Operations - obvious uses as tools. The article How to Take Movie as Weapons, by Zheng Junsheng, outlines a blueprint of filmdom in China in future, has always been regarded as guiding principles of KMT authority to develop the film industry. Many constructive suggestions described in this article fail in implementation because of the wars and civil turbulent situations, even some of those approximately in line with the top officials to make complete uses of wireless tools and movies, still stand high in the film historiography. Under the guidance of this theory, movies as instruments become visible in managing the country and lead to the birth of two state-owned organizations, China Central Film Studio(CCFS中电), represents the Party, and China Film Studio(CFS中制), stands for KMT Army, both are tools of moralization and propagandizing of the KMT authority. Chapter Four: Attention Both Internal and External - the KMT’s essential control over filmdom. In 1930th, China was an attractive nation to the outside world for its unique traditional cultures, western movie-doers came to shoot and make photograph with their camera lances to discern Chinese economy, society and culture. Slums, shabby shelters and beggars, foot-binding women, vegetarian monks, county gentries and so on, all come into the westerner’s cameras. The authority thinks it is very important that nation’s image, social customs so the foreign film makers are forbidden to make movies in China. Shao Lizi also makes a proposal for the bans. Zheng Yongzhi, a movie star of KMT, his image and acting style are basically formed at the time, indicate the deepening of film theory of Three People’s Principles. The KMT authority sets up distribution channels to get prepared for the nationalization of the KMT ideology no matter how difficult both CCFS and CFS, are facing fierce tribulations during the war.Chapter Five: Education Film - Vision of KMT to manage the nation. According to Dr. Sun Yetsan’s National Reconstruction Guiding Principles, the KMT authority carry out step by step to develop the film industry, using it as a tool to educating and cultivating people, it’s also the new route to monitor the folks. In this chapter, the author uncovers the facts of educating films at the very beginning, and takes a glance at the film making activities in universities, narrates objectively how the first film Spring of Peasants gains international awards. The author still makes researches into the found of theory and achievements of educating film.Chapter Six: Managing State with Films - the general objectives of KMT’s control over culture. This chapter focuses on the argument between nationalization of moralization and the saving of the nation via films. The Government issues National Reconstruction Guiding Principles during the period of Anti-Japanese War, in which implementation of teaching materials at wartimes, cultivating citizens are set as the guiding principles. It requires that teachers in schools, universities at all levels should serve for the Party, combines politics and teachings together, thus schools and universities are basically the tools to enhance ideology unification. Chapter Seven: Historical Echoes - the termination of the KMT’s control over film in mainland. The termination of the KMT’s management and control over film comes together with the collapse of KMT in mainland. The author analyses the future of the film industry and a serious of crisis of state-owned film studios, and concludes with the point of materialism that filmdom under KMT authority must come to an end.The author objectively evaluates the historical status of the KMT controlled film industry in both horizontal and vertical point of view and attempts to trace back the film history when KMT government in power in mainland over 20 years in 20th century. The author also proves the historical fact that the purpose of the management and control over the film of the KMT is serving for the nation.更多还原