摘要
二十世紀三0年代是美國好萊塢電影發展的第一波高峰，伴隨著美國國力成長，將美式文化傳播至全球，更將潛藏於好萊塢電影裡的美國意識形態，帶入全世界。在該過程中，含有美式價值及意識形態電影作為文化表徵，，強勢植入他國的結果，不是無往不利：或許被當地接受，或遭抵制，或與之融合。在中國的情形也是如此。當好萊塢電影進入中國，在中國最大城市─上海雖然很快興起欣賞風潮，但在中國語境下，美國電影也不免被轉譯成不同的樣貌。 因此本文旨在探討二十世紀三0年代好萊塢電影在中國造成的影響和回應。文章第一部分首先耙梳好萊塢在二0年代初至中國的情形，以如何佔領上海市場；再者以被譽為「美國電影之父」的大衛•葛里非斯的三部作品在上海出版的電影報刊中受到之討論，作為中國觀眾對美國電影的初步認識。第二部分以《申報》電影廣告欄位為主要分析來源，嘗試建構好萊塢電影在三0年代上海電影市場擴張方式。在此過程中，放映美國電影除了完善現代性城市的硬體，更為上海帶來現代化的美式娛樂步調。最後探討中國三0年代三種意識形態─民族主義、左翼評論、自由主義對美國電影的看法，展現中國雖然無力美國文化入侵，但仍保有能動性。希冀這樣的研究，能補充二十世紀上半葉中美兩國文化外交之一環，也能增添中國的多樣現代性樣貌。
並列摘要
Hollywood movies reached its peak in 1930s'. With the increase of American national power which affected around the modern world during twenty century, Hollywood movies went into the whole world easily and spread American ideology to everywhere. However, people in other countries didn’t always accept Hollywood movies without resistance. As the cultural representation, American films in different social contexts might be translated into other ways. The same situation happened when Hollywood movies went into China, especially in Shanghai. Though the films became popular in the city soon, the audience still judged them with their own values. Therefore, this study focuses on the impact of Hollywood movies on China and the China's response to those films in 1930s'. The article includes three sections. The first section depicts the early period of Hollywood movies first arrival in 1920s'. In this part, I will describe two things. One is how the American films occupied the Shanghai film market; another one is taking “the Father of American movie” –David Wark Griffith(1875-1948) for example. I'll discuss how Chinese people "see" American films through Griffith’s works. The second section will analyze Shen Bao(申報) and movie magazines. I will try to rebuild the construction which Hollywood movies circulated, and the way that Hollywood movies expanded in Shanghai film market. The final section will discuss about how three kinds of ideologies in China– nationalism, leftwing commentary and liberalism judged Hollywood movies. As we can imagine, each of three ideologies had it own way to interpret films, but each of them all represented the faces of multi-modernity of China. In sum, this research shows that even China couldn't resist the invasion of American culture of Hollywood movies, she kept the national mobility however.