| Film Art boasted the first professional theoretical journals on films since the foundation of the People's Republic of China and served as the important window for the study of the films at that time.Numerous articles on art films continuously took up a large amount of pages of Film Art during 1956-1966 and showed a relatively diversified ideas on Chinese art films,whose summaries on art films in those seventeen years went far beyond the current ones which characterize them as "Nationalization,artification and Chinese School",and amended the historical remarks and present research contradictions.From this point of view,much importance should be attached to this journal in the study of art films and journals.Therefore,this thesis,based on articles about Chinese art films published in Film Art during 1956 to 1966,aimed to sort out their ideas on Chinese art films in different perspectives by means of relating them to the political context and other articles about Chinese art films in contemporaneous important journals.At the same time,this thesis also reflected on those defective and biased opinions with the hope to advance the study of Film Art and Chinese art films jointly.Chapter One,from the diachronic and synchronic perspective,clarified the changes and causes of the ideas on art films presented in Film Art(1956-1966).First of all,the diachronic changes of the ideas on Chinese art films fell into four stages:"Pre-stage of Film Art",Appealing Stage","Reconciling Stage" and"Compromising Stage".They all distinctly reflected the close relationship between art films and politics.Secondly,the external factor of the political situation both at home and abroad,coupled with the internal one of the authors and editors,codetermined the ideas on art films put forward in Film Art.Chapter Two cleared up and probed into the view of creation of art films in Film Art(1956-1966).Described as "Assumptive","Realistic" and "National",these three views acted as the key words to understand Film Art at a macro level.On one hand,the "Assumptive",as the kernel art noumenon and abstract artistic concept,was bound to conflict with "realistic" view of creation;on the other hand,the "National" view of creation resulted from the combination of the"Assumptive" view and Chinese actual conditions and environment made remarkable achievements in those "seventeen years",although it possessed multiple mistakes at the same time.Chapter Three examined the causes of divergent view of criticism on art films in Film Art(1956-1966).The discourse authority caused by political ideology used to be a guidance and a restriction for the critics,leading to the critical texts about art films inclined to politics,propaganda and education.All the same,criticisms on art films also achieved its richness from the aspect of aesthetics.Chapter Four dealt with the view of history on art films in Film Art(1956-1966).Under the background of views of history on revolutionary art films,diversified cognitions to the history of art films were just implied between the lines and revealed the development and independence of the art films from the foreign,world,traditional and artistic perspectives,etc.Specifically,The Development of Chinese Art Films written by Jin Xi attained the highest achievement.Chapter Five,on the basis of the analysis in the previous three chapters,looked at the view of Chinese art films.During the process of art film creation and article writing,there existed much partial understanding of the independence of "Beauty",Experimental Creation and "Children Character".Film Art,as an in-system journal,limited diversified and deep reflection to the discourse space.Nevertheless,some enlightenment could still be gained from the art films for their "revolutionary thinking" and universal care for "human beings". |
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