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    Title: 中國電影的革命化與黨國化(1949-1976)
    Authors: 李福鐘
    Contributors: 台史所
    Keywords: 為工農兵服務;武訓傳;毛澤東;江青;文化大革命
    revolutionize;Mao Zedong;Jiang Qing;The Life of Wu Xun;Cultural Revolution
    Date: 2015
    Issue Date: 2017-05-17 15:33:32 (UTC+8)
    Abstract: 1949年中華人民共和國建立之後,中國大陸的電影產業生態面臨極為巨大的轉變。首先是拍攝題材無可選擇地朝向「革命化」的方向發展。同時,在電影主題「革命化」的背後,則是整個電影產業及攝製機構的黨國化。不稱之「國有化」而強調其「黨國化」,在於中共政權的特質在於以黨領政,「國有化」的概念尚不足以描述其實質。在黨國狀態下,黨的統治機器不僅形塑、籠罩整個國家體制,同時還滲透進私人層次的社會網絡之中,深入到個人的行為與思想底層。只有在黨國化牢不可破的權力結構之下,革命化方成為藝術表現的唯一形式。1960年代中期起樣板戲的出現,是中國大陸電影在徹底黨國化的環境下,具體實踐革命化使命的終極成果。雖然在文化大革命之前的一段時間,中國大陸電影曾短暫出現以地方戲曲、歷史人物為內容的嘗試,然而在文化大革命前夕的意識形態論戰和因之而起的政治風暴中,證明革命化與黨國化,仍是文藝作品必須服務於階級鬥爭的唯一可能選擇。
    After the establishment of People’s Republic of China in October 1949, the Chinese movie industry met a huge transformation. First was the subject matters had no choice but to be revolutionized. And behind such a tendency of revolutionized keynote, the whole movie industry abruptly controlled by the party-state. The party-state system was how the Chinese Communist Party monopolized the power of
    the state machine. Only under such a system, the style of artistic performs became revolutionized was possible. The appearance of Yang Ban Xi in 1960s was the ultimate outcome of the evolution of a revolutionizing process. Even though before the Cultural Revolution there was a period that some
    film-makers tried to produce some movies based on the local dramas or historical figures, but the ideological controversies and the following political turmoil happened around 1966 proved that revolutionization and partystate’s monopoly was the only criteria of China’s cinema production.
    Relation: MOST 103-2410-H-004-036
    Data Type: report
    Appears in Collections:[臺灣史研究所 ] 國科會研究計畫

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