| 论海派影论之兴 |
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| 引用本文： | 潘秀通. 论海派影论之兴[J]. 上海大学学报(社会科学版), 2003, 10(3): 30-35 |
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| 作者姓名： | 潘秀通 |
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| 作者单位： | 上海大学影视艺术技术学院,上海,200072 |
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| 摘 要： | 中国海派电影理论话语兴起于20世纪20年代的上海,主要有4个动因,4个依托,并显现着4个方面鲜明特色。在旧海派电影文化的积淀中升华、创新的新海派电影文化,既应“海纳百川”,又应“百川归海”,既葆有地域文化的鲜明特色,又相融相合于中国整体文化之中。
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| 关 键 词： | 海派影论 新海派影视 电影理论 |
| 文章编号： | 1007-6522(2003)03-0030-06 |
| 修稿时间： | 2003-01-07 |
About The Rise of The School of Shanghai film Theoretical Research |
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| PAN Xiu-tong. About The Rise of The School of Shanghai film Theoretical Research[J]. Journal of Shanghai University(Social Science Edition), 2003, 10(3): 30-35 |
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| Authors: | PAN Xiu-tong |
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| Abstract: | The school of Shanghai film theoretical research rose in the 1920's. It mainly has 4 causes,4 supports and 4 clear features. The new school of Shanghai film culture which sublimed and innovated from the old school of Shanghai film culture should be comprehensive, regional and up to the whole Chinese culture. |
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| Keywords: | the school of Shanghai film theoretical research the new school of Shanghai film and TV research film theoretical research |
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