【作者】 刘磊；

【导师】 王育济；

【作者基本信息】 山东大学 ， 中国史， 2018， 博士

【摘要】 电影院曾是城市在不同时代的地理标志和重要的城市公共空间,承载着城市记忆和文化传统,其凝结着大众对城市的感知、体验与认同。本文以电影院为研究对象,以1896-1949年为限,采取新文化史研究自下而上的微观研究视角,试图从小人物的日常生活和衣食住行这些世俗层面来观察发生在电影院中的历史现象,以期在历史的细枝末节、电影院的犄角旮旯里梳理出中国早期电影院的发展脉络、文化逻辑和市场规律,并呈现出一幅以电影院空间为表征的社会文化图景。20世纪70年代起,西方社会学家纷纷将时间上的青睐转移到空间上来。西方空间理论鼻祖式人物列斐伏尔的“三元组合概念”——空间实践、空间的再现、再现的空间,给本文行文结构带来启示,在此基础上,将全文研究结构分为三大部分:电影院的感知空间、电影院的社会空间、电影院的再现空间。电影院的感知空间,即电影院物质和物质化的空间,其可在两个层面上被阅读和分析:一是对其表象(分布、位置、环境、建筑、银幕画面、声音)进行实物性的描绘,二是从外在的历史、政治、经济、文化和心理等过程中寻求物质空间的社会文化解释。电影院首先是地理学意义上的空间,是地图上所呈现出的空间分布,它在宏观上涉及中国早期电影院在全国的分布情况,在微观上关系到电影院在城市空间中的分布特征。电影院的建筑,它不仅是一种工程技术,更是社会文化的一种物化形式,其背后所隐含的文化意义和象征,往往比建筑本身更为重要。“听觉”是继“视觉”之后,电影院里又一重要感知方式,“有声电影”的到来,不仅给电影带来了“声音”技术,更是对电影美学的一场颠覆性革命,它影响到了电影的拍摄方法,改变了观众的感知方式和观影体验,还关涉到了现代性、民族、国家和地方等议题。电影院的社会空间,由物质空间之外的各种复杂的现实世界和社会关系网络组成。其根植于生产关系、意识形态、权力争夺、话语模式、行为习惯等中,包括电影院商人的经营理念和市场行为,社会改良家推行的观影行为规范,国家颁布的电影院管理条例、规章和电影检查制度,等等。与此同时,电影院还展现了一个错综复杂的社会缩影,有整个社会道德失范、秩序混乱下的军警之患,也有因爱国情感或者职业歧视引发的暴力抗击电影院事件,有殖民者对被殖民国家的书写,也有被殖民者对国家主权的争夺和民族形象的建构,有知识精英和大众媒体对公共话语的塑造,也有市民观众对高压政治的反抗,它是种种社会现象、政治现象、文化现象的化身。可以说,电影院本身上演着比其放映的影片更精彩的演出,其蕴含的消费、权力、阶级、种族、性别、现代性、身份等问题,使其成为研究社会空间性的最佳文本之一。电影院的再现空间,它是围绕“影片”“媒介”和“人”展开的有关符号、经验、记忆与想象的生产、重构过程,它涉及城市中广大小市民阶层对电影的接受心理和审美趣味,关系到电影院空间的延伸和对电影的传播,它也与电影院中活动的“人”密切相关。小市民是中国早期电影最庞大的观众群体,小市民观众对武侠神怪片、鸳鸯蝴蝶片的推崇,内地观众对好莱坞电影的冷落,左翼电影迎合小市民的商业策略,都说明在市场表象之下中国传统文化和思维方式起了重要作用。电影广告、海报、说明书等媒介的生产与消费,使观众的观影活动无形间从电影院进入了更广大的日常生活空间,与影片一起成为个体与集体对特定时代影院记忆的一部分。电影院中一切的活动实践,都最终需指向行为主体,即“人”,电影院中除了观众、明星以外,电影院的工作人员也是重要的群体,他们作为影院中“第三只眼睛”,所形成对影院的体验、记忆完全不同于观众,从而成为早期电影院一个丰富的注脚。最后,本文在呈现与“还原”——中国早期电影院是什么样的?早期观众是如何看电影的——这一丰富多彩的社会图景的同时,着重思考以下几个关于早期电影院史研究中不可回避的问题:观众为何去电影院?作为“公共空间”的电影院,其空间本体特征是什么?国家权力对公共生活的渗入与控制是如何体现在电影院的日常经营与观众看电影行为中?在回答这些问题基础上,认为中国早期电影院参与了近代以来现代性、民族、国家等宏大议题的建构,这是中国早期电影院发展的一条主线。更多还原

【Abstract】 Built in the early half of the 20th century,the early Chinese cinema is used to be a recognizable symbol of the City and important urban public space.It is a place where the public recollected the past and carried the city memory and cultural tradition.In this paper,the author takes Chinese cinema as analysis object and adopts the new cultural history of microcosmic research perspectives from bottom to top.This article tries to observe the historical phenomenon from the nobodies’ daily life,aiming to tease out the development process,cultural logic and market law of the early cinema and offer a whole picture of social culture.From the 1970s,western sociologists have shifted the favor of time to space.H.Lefebvre,a forefather of western space theory,set up the spatial practices,representation of space and representational space in The production of space,which inspires this article structure into three sections:The Perceived Space of Cinema,The Social Space of Cinema,and The Extension Space of Cinema.The Perceived Space of Cinema is a material space of cinema,which can be read and analyzed on two levels——Image description including distribution,location,environment,architecture,screen,voice,and social cultural interpretation of physical space in the term of history,politics,economics,culture and psychology.Firstly,cinema is a geographical space and map space,which involves the distribution of early Chinese cinema in China in the macroscopic view and the distribution of cinemas in urban space on the micro level.The cinema building is not only a kind of engineering technology,but also a materialized form of social culture behind which the cultural significance and symbolism are more important than the building itself.After the visual sense,the auditory sense is another important perception in the cinema.The coming of sound film era,not only bringst the sound technology to the film,but also is a subversive revolution to the film aesthetics.It affected the way the film shot,changed the audience’s perception and experience,and involved the issues about modernity,nationality nation and local.The social space of cinema is composed of a variety of complex real world and social networks outside of physical space.It is rooted in the relations of production,ideology,power struggle,discourse pattern,behavioral habit.It involves the business philosophy and market behavior of cinema dealers,the standard of viewing behavior implemented by the social improvement family,the regulations of the national cinema and the film censorship system promulgated by the state,etc.Meanwhile,the cinema also presents a complex social microcosm which has the disaster caused by soldiers and cops,the violence because of patriotic emotion or occupational discrimination,the war of national identity between the Colonizer and the Colonized.To some extent,the cinema itself is more wonderful than the film.It implies many issues including consumption,power,race,sex,modernity,identity,which makes it become the best text researching social space.The Extension Space of Cinema,focusing on the film,media and people,develops the process of production and reconstruction of symbol,experience,memory and imagination.It involves ordinary citizen’s aesthetic taste of film and film transmission.It is also closely related to the people in the cinema.The ordinary citizen is the largest audience for the early Chinese film.Chinese traditional culture and thinking mode play an important role in the film market.The media incuding the film advertising,poster,film specification as well as the film are the part of individual collective memory on cinema.The practice of all activities in the cinema ultimately points to the subject of action,namely the person,including audience,stars and workers in the cinema.Finally,this article tries to present and restore the rich and colourful social picture.At the same time,it considers some inevitable problems and think that it is the main course of the early Chinese cinema that the early Chinese cinema participates in the construction of grand issues such as modernity and nationality.更多还原