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Cinema Approaching Reality: Locating Chinese Film Theory

机译:电影逼近现实:定位中国电影理论

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摘要

What do we mean by the term "film theory"? Usually, as Victor Fan points out at the beginning of his book, various comprehensive explanatory models of cinema, developed across a carefully defined corpus of texts, all composed by a coterie of Euro-American scholars. Chinese-language scholarship has largely been excluded from this canon. And yet, Chinese intellectuals and filmmakers have written about cinema since the medium's emergence. Though Fan argues that such writing is often more akin to vernacular criticism than grand theory, it has nonetheless conducted a distant and unacknowledged debate with those figures at the core of the Western tradition. Cinema Approaching Reality seeks to reopen this conversation, putting Chinese film theorists from the 1920s to the 1940s in dialogue with their Euro-American counterparts. The book thus seeks to locate Chinese film theory twice over: first, vis-à-vis the Euro-American tradition with which film scholars are largely familiar; and second, in relation to the complex social and political currents that shaped how cinema as a medium was understood during the Republican era.
机译:我们所说的“电影理论”是什么意思?通常,就像范·范(Victor Fan)在他的书的开头指出的那样,电影的各种综合解释模型是通过精心定义的文本集开发而成的,所有这些模型都是由一群欧美学者组成的。中文奖学金在很大程度上被排除在这个标准之外。然而,自媒体出现以来,中国知识分子和电影制片人就写过关于电影的文章。尽管范认为这样的写作通常更像是白话批评而不是盛大的理论,但它仍然与那些以西方传统为核心的人物进行了遥远而未经认可的辩论。 “电影逼近现实”寻求重新开始这种对话,使1920年代至1940年代的中国电影理论家与欧美同行进行对话。因此,这本书试图两次定位中国电影理论:第一,相对于电影学者所熟悉的欧美传统。第二,与复杂的社会和政治潮流有关,这种潮流塑造了共和党时代电影作为媒介的理解方式。

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  • 来源
    《The China quarterly》 |2016年第228期|1130-1132|共3页
  • 作者

    LUKE ROBINSON;

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  • 正文语种 eng
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  • 入库时间 2022-08-18 00:42:54

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