【作者】 张海燕；

【导师】 虞吉；

【作者基本信息】 西南大学 ， 电影学， 2007， 硕士

【摘要】 《中苏文化》是中苏文化协会的机关刊物，从1936年5月创刊到1949年5月连续出刊达13年之久，这在战火纷飞的年代显得难能可贵。该杂志作为大后方文化范畴内的大型刊物，重新出现在我们的视野中。结合当时电影国营化、民族化的浪潮，苏联电影及理论体系在大后方的重要地位被凸显，而《中苏文化》杂志对此曾有过集中的反映。现有研究往往只对该协会和杂志进行简单介绍，将抗战时期苏联研究的重心放在文学译介上，对电影文献则缺乏深入的认识。本文针对刊载于《中苏文化》中的电影文献进行研究，结合对当时在中国上映的苏联影片的分析，实质地印证苏联电影给予中国电影的影响，让身在21世纪的我们可以透过纷繁的历史表象，去触摸和接近历史的真相，更能通过对史料的发掘来探究更深层次的历史发展足迹，对当下已有的历史观点做出评判。第一章主要介绍《中苏文化》杂志以及选择其中的电影文献作为研究对象的原因，阐述已有的研究成果，说明该课题研究的意义和主要研究方法；第二章是本文的重点，即针对电影文献展开的研究，通过对文献资料的分类、统计，归纳出不同的类型及其指向，并对其中的重要篇章进行详细解析，分析苏联电影理论的影响力所在；第三章与第二章相辅相成，由于大后方戏剧与电影深度交切的特殊状况，分析《中苏文化》中的戏剧文献资料及反映出的观念是有必要的；在第四章中，首先简要介绍苏联蒙太奇学派在中国的接受状况，通过大后方的重要报纸统计大后方电影的市场份额，用实际数据表明苏联电影在中国的历史境遇，再结合第二、三章的分析，回答在大后方时期，苏联电影是否对中国电影产生过影响、影响程度有多深等相关问题。完成本文的撰写，需要在前期进行大量细致的收集资料工作。《中苏文化》杂志的保存相对完整，文中涉及的文献资料、统计数据、图片全为一手资料。更多还原

【Abstract】 "Sino-Soviet Culture" is an official magazine of the Sino-Soviet Cultural Society. From its foundation in May 1936 to May 1949, it is worthy of commendation to be successively produced during that thirteen years, which is a war-ridden period. As a major publication in the category of Main Rear Area Culture, this magazine reappeared in our view. With the tide of film nationalization at that time, Soviet films and theoretical system were pushed to a significant status in the Main Rear Area. There are concentrative reflections on such aspects in the magazine of "Sino-Soviet Culture"; however, present researches only make brief accounts of this Society and magazine, laying the center of gravity of Soviet studies during the period of War of Resistance Against Japan on literary translations and introductions, while lacking in-depth understanding of documents on films. This thesis makes a study of the documents on films published in this magazine, and verifies them through an analysis towards the Soviet films projected in China, allowing us to touch and approach the historical truth through the intricate surface of history in the 21st century, and exploring deeper footprint of history development through digging historical materials, and thus making judgment towards the present historical standpoints.Chapter One of the thesis mainly introduces the magazine of "Sino-Soviet Culture" and the reasons for choosing the film documents in it as the research subject, and it also includes a brief account of the previous research achievements, an exposition of the significance of this thesis and the main research methods. Chapter Two is the focus of this paper, that is, researches on film documents. Through classification of the documents and making statistics, different types and orientations are summed up. Some key documents are picked out to be explained in detail, in the aim of drawing out the great influence of Soviet film theories. Chapter Three and Chapter Two are supplementary with each other. For the special situation that dramas and films in the Main Rear Area are deeply interrelated with each other, it is necessary to make an analysis towards the drama documents and the ideas in the magazine of "Sino-Soviet culture". In Chapter Four, there is a brief introduction on the acceptance of the Soviet Montage School in China. Through statistics from the key newspapers in the Main Rear Area of the market share of rear-area film, we can see by the actual data the historical circumstance of Soviet films in China. Together with the analyses in Chapter Two and Chapter Three, this chapter answers such questions as whether the Soviet films produced impact on Chinese films and to what extent the impact appeared to be. It needs a massive and careful data collection in the earlier period of writing such a thesis. The magazine of "Sino-Soviet Culture" is preserved relatively intact, and the documents, statistics, and pictures concerned in this thesis are all first-hand materials.更多还原