中共的電影運動（1931－1949）

Cinema Movements of the Communist Party of China(1931-1949)

陳景峯(Chen,Ching-Feng)

《全人教育集刊》 4期 (2017/10) Pp. 79-100

https://doi.org/10.6689/BHE.201710_(4).0003

摘要

在「九一八事變」與「一二八事變」後，原本掌控在國民政府手中的電影產業經營權相繼失去。尤其是上海電影界，共黨「左翼劇聯」利用劇本編寫與拍攝電影的方式，攻訐政府的缺失；而後，更有「中國電影製片廠」與「滿州映画株式會社」的強行接收。一連串產業侵蝕的過程，正是中共電影運動發起的背景。因此本論文，主旨探討一九三一年至一九四九年間，中國共產黨三大電影運動－「新興電影」、「國防電影」與「進步電影」發展的過程。而其電影製播訴諸的主題，也將予以論述。最後，以阮玲玉與胡蝶兩位電影明星為例，解析她們在左翼電影中的飾演的螢幕形象，進而可更瞭解三大電影運動吸引民眾認同的原因。史料的運用上，參考台灣、中國大陸與香港相關的學術著作。另外，當時從業人員的自傳、回憶錄與口訪記錄，更可為重要的佐證史料。報章雜誌的記述，更可瞭解民眾對於共黨電影運動的觀感與反應。本論文透過史料間的互文解析，進而論述在中日戰爭前後，共產黨透過電影運動，推銷思想主義，而後詮釋左翼電影的方法與歷程。

關鍵字

「新興電影」 ； 「國防電影」 ； 「進步電影」 ； 胡蝶 ； 阮玲玉 ； 共產黨

並列摘要

In the wake of the Mukden Incident and the Shanghai War of 1932, the Nationalist Government of the Republic of China lost its control over the cinema industry to the Communist Party of China (CPC). In the cinema community in Shanghai, the CPC's League of Chinese Left-wing Dramatists criticized the government through scriptwriting and filming. The China Motion Picture Studio and Manchukuo Film Association were also later taken over by force by the CPC. The series of infiltrations into the cinema industry marked the beginning of the CPC cinema movements. This study aims to explore the development of three major CPC cinema movements between 1931 and 1949: the new cinema, national defense cinema, and progressive cinema movements. It then elaborates the film themes of these three movements. Lastly, it takes two actresses: Ruan Lingyu and Hu Die, as examples and analyzes the images they presented in the left-wing cinema, to better understand the major reasons why these movements were appealing to the people. This study refers to related academic works in Taiwan, China, and Hong Kong. It also draws on autobiographies, memoirs, and oral histories of movie practitioners during that period as important historical materials. Articles from magazines and newspapers back then also offer insights into the public’s perspectives and responses to the film movements. By conducting an intertextual analysis, this study expounds on how the CPC marketed its ideology through cinema movements before and after the Second Sino-Japanese War, and then explains its method and process in left-wing cinema.

並列關鍵字

CPC cinema movements ； the Communist Party of China (CPC) ； Ruan Lingyu ； Hu Die